061 – Pamela Caughey – LARGE SCALE Acrylic Painting – Using my HANDS!

061 – Pamela Caughey – LARGE SCALE Acrylic Painting – Using my HANDS!

(gentle piano music) – [Pamela] Hey everyone,
this is Pamela Caughey, and this is going to be a time-lapse video for the most part. And here I’m just showing
you what I got started with. It’s an acrylic painting
with a limited palette, yellow, orange, red,
purple, black, and white. And there was my table
with my mark making tools. And I’m working here on
Strathmore Mixed Media Paper. It’s 40 by 80, so there
are two sheets here that are just taped to the wall. You can’t really see
the seam in the middle because there’s tape over that as well. And here I’m just beginning
with Cray-Pas as pencil, I’ve got a Sakura solid marker
in black which I really like and number two pencils, art graph, you know, anything really. My favorites, I always just grab ’em and like to play around
in the very beginning. It kinda energizes the body
and I think puts some energy in those lower layers. And here I’m definitely using my hands, I’ve got my gloves on,
and there’s something really satisfying that I’ve discovered about just using my hands. And you know, we use
brushes, and squeegee tools, and silicon tools, and
all kinds of things. But now and then it’s really fun just to get your hands literally dirty. But that’s not to say
that I don’t also use, and enjoy using brushes. Here’s a really nice, long-handled brush. And that’s really an expressive tool. I’m just putting on black acrylic here. And really this is the playful stage. It’s so fun just to, I
think when I start this way, given that it’s a very
energetic start no doubt. But it’s just fun because
one thing leads to another and you get to move around,
you get to walk around when it’s on the wall like this. And it allows you to step back a lot. So anyways, I’m just applying the paint. And obviously there’s
this thing of you know, you put it on, and sometimes
you cover things up. Here I’m putting ArtGraph,
which is water soluble, right into the wet paint. And I just did that and
then I took an eraser, and here I’m going back
into the wet paint as well, so erasers work well. Comes the long-handled brush again. This is where I start
to put some color in. There’s a little bit of red there, and you know I, yeah, so this
is where I start to add color. And again, I’m using Nova Color. Novo Colors
(gentle piano music) is a company that makes a
lot of really nice acrylics. And there’s my palette,
it’s the same wet palette that I’ve shown you on another video. It’s got the blue paper towels, chopped towels that have been soaked, there’s tracing paper on the top of that, it’s very lightweight
on the cafeteria tray. And the tracing paper actually
is about the same size as the cafeteria tray. And as I’ve mentioned before
and also in the description below this video, you’ll find
my website ARTandSUCCESS.com where you can simply click
on resources at that website and find out where to easily
find these cafeteria trays and the matching size tracing paper. I also have a link to Nova Color and all my favorite mark making tools. It’s just kind of always there. And I keep adding to it. (chuckles) So here, I switched to a bigger brush. I actually recently found this brush while I was visiting my son in Portland. Went to this amazing art store. Trying to remember what it was called. I think it was called Columbia Paints? Or Columbia Art Store. And these were really
high quality brushes. Long handles, nice wide bristles. So I like to use, you know,
different sizes of brushes. And I really wish I could
paint this fast. (chuckles) But obviously, I do not paint this fast. This is called time lapse. This is when you speed up the video. And if there was any sound,
I’d have to just take it off, because otherwise it would
just be really annoying ’cause I’d sound like a chipmunk. I decided to just like kinda
narrate what I’m doing here instead of playing it in real time, because you would fall asleep. These things don’t really
happen this quickly. I had to do a lot of
editing just to take out all of the quiet times
when I’m just looking at the painting and stepping back. And I do give myself lots
of room to step back, I think that’s pretty important. It’s the advantage of having
it on the wall or on the floor versus like on a table. It’s really hard to step back
if something’s on a table. Notice that even though I do have purple as part of my palette, I’m
not using the full strength, highly saturated purple. If it shows at all, it’s
been really grayed down and I wanted to have two warms and a cool. And probably on another painting I’m gonna do two cools and a warm. It doesn’t really matter
what the colors are. It’s good to have some cool and some warm. It’s really nice to have
opaque and transparent, but you know, any paint can really be made into a transparent, so
I don’t really worry too much about that. Here I’m taking the bottle of gray, I put a bead of paint up there
and then it was really thick and wasn’t moving, so then
I put some airbrush medium right on top of the gray bead. And then I’m taking this long brush and pulling that paint down. It just didn’t drip
the way I wanted it to. It’s such a meditative process. And it’s so much fun just
to keep stepping back and evaluating what the next move will be. Because I’m using my hand
so much in this painting, it does have a little
bit of a different mood, it feels looser, it feels more free, and that felt good. I haven’t really painted like this before. It’s the first time I really
used my hand to this extent. I’ve used it before in other paintings, but this one largely, that’s
kinda like my main tool here. So yeah the effect is
a little bit different and I’m not really thinking about anything except trying to get the paint on there, trying to move it around, trying to make interesting marks and shapes. And as far as value goes, I’m not really, I mean I’m aware of what’s happening. And when I step back, I’m
squinting, and I’m trying to figure out, where
is my eye going first? And what are the shapes that I see first? Like what are the predominant shapes? And where are they? Are they interesting? Are they too bold? Do they need to be kind of, you know, sent back a little bit by
either putting marks over them or perhaps even obliterating it? This is kind of everything
happening at one time. I do teach in my online course that the first thing I do is I play. Well there’s plenty of play here. The play then turns into the
next phase which is explore, where I’m stepping back,
I’m trying new things. Pretty soon you’ll see me
bringing out some paper where I do some monoprint. And every time that I make another mark and push this painting forward, things are either disappearing
or they’re reappearing, or whatever’s happening. But the whole adventure, the
whole journey of this painting is intentionally gonna be
a more gestural painting. It’s on paper number one. And I think when you work on paper sometimes you feel like
it’s less precious. And that encourages you to
be a little bit more free and loose than you might be on wood. And also I’m very limited in terms of, see I can’t gauge into the
paper, I can’t use my all and drag it into the surface of the paper. So in that point, I’m a
little bit limited toolwise, but then this is gonna
be mounted onto panel. And then I’m going to decide,
after refining it some more, whether I want to introduce
some Colorex medium in oils on the top. I may or may not do that. I think what I need to do
is first mount it on panel, and then kinda live with it for a while because I actually like how
this painting turned out. It’s definitely looser and freer. But with a little bit of refinement, once it gets mounted, I can
foresee probably just leaving it pretty much the way it is. And I’m fine with exploring
extremes of what I enjoy. I don’t feel like every
single painting I do has to end up being really
more subtle and quiet. I like to have a range
because emotionally, I am also that way. I have the quiet, but I also
have the loud in my life. And so I think it’s
okay to have that range expressed within my work. And I’m not trying to go for
just one consistent thing. I’m really trying to explore
all that I really feel, and give myself permission
just to do that right now. Here I’m using that long-handled brush for a little bit more refinement, a little bit more refined shapes. And then here’s a closeup,
because it’s really hard at the angle that I was
videotaping to really see any amount of detail. But you can see that there is some paint that’s more patterned,
some paint is thick, some is thin, some of it was dripping. And here’s the dry mark making. And then areas where I
used my hand, my fingers. It’s just really a lot of
different types of textures and surfaces that you get
when you kind of mix up your tools like that. And it’s always a good time in my process to bring back mark making tools. It just doesn’t even matter
whether it’s the beginning, the middle, or the end. It’s kind of my comfort zone. Whenever I feel like something
needs, it’s too static, I’ll introduce line. Or if I just feel like an
area needs more attention, I might introduce some line. It doesn’t mean it’s all gonna stay there. Sometimes I’ll obliterate it. And standing back, it’s pretty easy to see that it’s largely a curvilinear and an amorphous shaped painting. So as I move on here, and I’m starting to actually do a little bit of refining, even though I wouldn’t say
that it’s, it’s not done, but I wouldn’t say that it’s,
for this particular painting, I’m gonna let it actually live like this for a pretty long time, so I don’t think it’s
that far from being done. However, you know, like
what I’m doing right there, I was trying to obliterate this black line that was smack dab in the
middle of the painting. I remember first trying like a Cray-Pas, and that wasn’t doing enough, and then I went and got
some titanium white paint. And then once I tried
to diminish the impact of that dark line going across, you know, I’m trying to make that middle section a little bit more interesting. It’s right in the middle of the painting. And there’s something about when I work I’m always trying to kinda
consciously avoid middle. And then in this painting
I ended up with something that was pretty distracting
right in the middle, so I tried to obliterate that. And then there I was just trying to refine by adding a few hard edges
that were rectilinear. That’s why I used the edge of
the paper, of the newsprint. Because I have a lot of curvilinear. So what I don’t have is anything
that’s really rectilinear. I’m trying to be careful with the red. I love red, and I’m trying to
just allow as much as I need, or I should say the most
minimal amount I need to move the eye around the painting, it’s so potent, it’s
so bright and saturated the way I’m using it here. And there are areas where I’ve
dulled it like right there. But I’m still trying to gauge how much red I have left
in this final painting. And here I put the monoprint with the gray just by squirting some
paint onto the brown paper and you could say I’m monoprinting it. But then when I stood back, it’s like oh, that’s nice, ’cause it’s the
same size and the same shape as that shape below it. (chuckles) And that was something I didn’t
even realize I was doing. So then later on, you’ll see
where I tried to obliterate some of that upper gray rectangle. I don’t think I’ve noticed it yet. But I will notice it pretty soon, and that’s when I start
to change that shape. And here I’m trying to accentuate some of the patterny dots
that were down there. I tried a few different things. Some weren’t dark enough, and then I had to go
get a different color. I think I’m using mostly
just Cray-Pas there. This is just so much
fun to do this painting. It just felt like, you
know, I could just do this every single day and never get
tired of just, I don’t know, it’s very therapeutic,
it’s kinda meditative, and I’m also getting
my exercise. (chuckles) So here’s where I start to obliterate this rectangular shape, I’m
trying to offset the feel of it, so it doesn’t feel like
the very same shape right above the very same shape. So I actually just put
water over the paint, and I tried to lift some of that, tried to obliterate the corner. More obliterating with
water and then wiping. It hadn’t dried yet so I could do that. And then here I’m kinda restating. So when you restate, you
can put something back, but it’s not put back
in the very same way. Upper left hand corner, I just noticed that there was a little bit too much red and it was going all
the way along the edge, and so I’m obliterating some of the red and making it a lighter value. Constantly squinting to see what is the approximate
distribution of value in the painting. Is it kinda clear what’s happening here? The darks are kind of one of
the least prominent values. So it’s very clear what
the black is doing. And then are the midtones hanging together to provide some sense of quiet and combining to make
bigger, larger shapes even though there could
be color differences? And then how much pure white do I have? I spent quite a bit of
time trying to obliterate, or I should say cover up
the white of the paper because the white of the paper is very, it’s just like a gessoed panel. How much of that white gesso,
or how much of that white do you really want in your painting? ‘Cause white is very potent. And it’s really, it’s
almost like a flashlight. So I did try to, even if
it’s just barely off white, or a light value gray,
I tried to obliterate some of the white, quite
a bit of the white. So there could be a lot of high key areas, but not just plain old white, white paper. And here I’m working again
into that middle section to introduce things that
are, they’re small things, but when you come up
close, they kinda matter. Because it means that there’s
something going on there in the middle of the painting. It’s not just white, or it’s
not just something super calm and with nothing going on. And there’s a little
bit more of my attempt to make some rectilinear forms, which once it’s mounted on panel, I will be doing more
of that kind of thing. That’s the kind of refinement
that I think I can do a little bit more easily
once it’s mounted on panel. Here I was just trying to put
in some very drippy paint. And I had added some
airbrush medium to the paint. And I kept going over that area to get the amount of dripping
that I really wanted. So there’ll be a closeup pretty
soon where you can see that. And there is tape all the
way around the perimeter and down the middle of the painting because this is two sheets of paper. So when I mount it, I can either mount it on one 40 by 80 inch board, or I could make it into a
diptych of two 40 by 40s, but that’s not something I know yet. I think I’ll probably do a diptych. I like the idea of the two
panels hanging side by side with just a little gap in between. It also a little bit easier then if you have to ship it somewhere. So here I am pulling off the tape. And as I’m pulling it off,
I’ve got these jumbo thumbtacks that I’m using a rubber mallet, or not a rubber mallet but a hammer, to pound the tacks into the
wall to hold the paper in place as I peel the tape off. And there’s the tape
coming off of the middle. It’s just feels so good to
peel that very messy tape off. Can actually see the
painting so much better. So thank you very much
for watching the video. I hope you enjoy it and
I really appreciate you visiting my channel. And always appreciate your comments. So I hope you’re subscribed. That way you always get a notification when I post a new video. And here is closeups, the
drippiness, and I had added the airbrush medium to that area, to the paint before I put it
on, that’s how it dripped. Here’s a large area where I used my hands. And a little bit of calligraphy. So thanks again everybody. It’s always fun to share with you. I appreciate your comments. Bye now. (base guitar music)


  • Pedro Abreu says:

    Beautiful work Pamela!

  • B. E. says:


  • danita banko says:

    Thank you so much for sharing your delightful skill with us. I began playing with acrylics a year ago and I really love this particular style. Working on finding "my voice". Really appreciate this video.

  • Brush With Many Colors says:

    what kind of paper are you painting on in this video? When you mount it on panel, will you keep it all as one… or separate the 2 pieces of paper?

  • Brush With Many Colors says:

    Gloves I have found are too loose at the finger tips, do you have that issue or have you found a brand / size that fits well?

  • Donna Compton says:

    My first time to view your videos.  
    I love the techniques you're applying and teaching us. I love the finished work. And….I love your calm voice-over as I can focus on what you're saying and doing so much better. Look forward to watching more.

  • Colleen Clark says:

    excellent! thank you

  • Glenn Smith says:

    Sorry but that is ugly.

  • annak954 says:

    As everyone else here has said, this is really inspiring! Thank you so much for sharing!

  • Aurora Pintore says:

    your art is excellent, love the freedom in it, the colors and texture.

  • H Girl says:

    Thank you for sharing your process. This is the second video of yours I have watched. Both times I didn't care for how you started each painting and I would think how messy it looked and it would look like you were just making a mess. Then suddenly everything would come together and it would then all make sense and become beautiful.

  • Stephen Plumbley says:

    I absolutely love this piece, and have enjoyed watching it several times, learning something new with each viewing. I hope you keep it as an acrylic piece; while I enjoy the oil paintings you’ve done, I work with acrylics and love seeing the progression with that medium here.

  • Tim Dennis says:

    You have inspired me to focus on my abstract painting. Im painting tonight. Thanks. Love your work. Please do more narrating and time lapse. That is really helpful to me being an inspiring artist.

  • gorgeouspaintings says:


  • Christina Weidmann says:

    This is absolutely fantastic – Just love it <3 thank you for sharing – very appreciated

  • Ruth Ann Molyneaux says:

    I agree with Robert William below. What an inspiring video! I appreciate your efforts to share both the painting process and what’s going on inside of you. I love to think of art—especially my own art as a process, but an adventure? How wonderful and fulfilling that thought is. Here we are, so many of us across the world, playing as we work. How privileged we are! But if we are compelled to do this thing called art, then we must do so! What fun and what joy! others who itch to play at art as wel

  • Carter wood says:

    Stunning art work , very beautiful !!! Congratulation !!!!!

  • Nabin Art says:


  • Elaine Flournoy says:

    I absolutely love these painting and listening to your process. Thanks Pamela!!

  • bonnie garson says:

    Fabulous! Do u gesso paper first. Thanks for sharing

  • bonnie garson says:

    How will u mount it?

  • bonnie garson says:


  • Debbie Darby says:

    Pamela, I scan YouTube every night for interesting painting demos for inspiration and WOW, I am so glad to have found you! Your commentary into your process helped me rethink my own process. I don't have money to take painting courses and although I am sure you didn't intend for this to be a tutorial, it has been one for me. THANK YOU FOR SHARING YOUR GIFT! Keep coloring our world! BTW, I am a new subscriber!

  • Doppe1ganger says:

    You are a lovely artist! So good. I mean, i don't know how to express it but you ooze art, everything about your work is feeling, every line and color and shape. Perfection. At every stage of your painting i'm scared, because i like it so much, yet you manage to somehow make it better still. It's actually a bit frustrating to see how good you are. D:

  • Sharon Black says:

    Hi Pam! So enjoy your videos! What were you using at around 9:54 to make the white marks? Thank you

  • ARISTADOE The Rebel God says:


  • Merete Hov says:

    This must be one of my favorite videos, it is meditative, it is exciting and most of all it makes me want to paint with my hands all day long!

  • Nick Adamopoulos says:

    Love it

  • claire richmond says:

    Thanks, this is just what I needed. I’m a messy person trying to be too neat, this is how I should be painting!

  • noirsociety says:

    As digital artists, we have the luxury of pressing "command + z" to undo when we find something not worth keeping or to start anew. This ladies and gentlemen, to me, is truly amazing because the workflow or process is so organic and intuitive. Thank you so much Pamela for sharing your world with us.

  • Davida G says:

    Thank you. I like your process and the final paintings. It is always interesting to watch other painters approach .great videos too. TY

  • Leigh-Ann H says:

    It was a pleasure to watch you paint. I enjoy painting this way too and it was a great reminder to do it a bit more frequently. Thank you.

  • Ruth Dawson says:

    My first time watching one of your videos, thanks for sharing!

  • Satheesh Kanna says:

    Soo Good 🙂 !!!

  • Marilene Golfette says:

    Maravilhoso o seu trabalho!

  • Courtney Hoelscher says:

    Wow! You are so inspiring. I could watch you paint for hours but also feel the urge to go and DO, which is wonderful. Thanks for sharing your tools, palette and thought process. Very valuable. I have subscribed and plan to watch many more. I love you inhibition!

  • Luca Giovannini says:

    Absolut super!!!!!!!!!!! Ich bin wirklich beeindruckt, das ist Kunst!

  • Robin Grant says:


  • Caroline Lee says:

    Thank you for sharing the making of this work, your actions and your reflections. Thank you for your generosity, so beautifully done, such lovely work. Very inspiring.

  • Bruce B says:

    Do you size the paper? Since it is 2 pieces of paper how do you frame it for exposition?

  • Ken Motley says:

    She is brilliant! I love your work Pam!

  • maryllis ellen says:

    I admire your energy & creativity in your fresh approach to painting on a large scale & your instruction & experience on various acrylic mediums!
    Thank you for your innovation!

  • GerriAnn Lockman says:

    This is beautiful thankyou

  • نوفل نوفل says:

    Thinks from iraq

  • gregorylent says:

    seems a mess .. hang it in your living room, divorce guaranteed

  • Steven Wertheim says:

    Love it! Wonderful!

  • Arbaayah Zain says:

    i love nature and would want to incorporate shapes of maybe flowers …

  • Arbaayah Zain says:

    i just need to be brave …thank you so much for your videos …

  • Paulina Waas says:

    So beautiful!

  • Sheila Jefferson says:

    Love this SO much!! Thank you.

  • Isabel Quadros says:

    Tenho aprendido muito com a Pamela Caughey. São fantásticas as técnicas e conseguimos ver como executa cada passo. Obrigada

  • lkiezl says:

    Hi Pamela, really finding your videos inspirational, have you made one showing attaching the paintings on paper onto a board?

  • marie-christine Scutt says:

    wow wow wow love it so

  • Alejandro Dpp says:

    very good, could you tell me what you use for the black lines, it's char or it's wax, thank you

  • Kent Broadbent says:

    Great,  seeing how this is coming together.

  • jmpsims says:

    Thanks so much for these video's, Pamela

  • Catherine Gutsche says:

    What did you use for the white scribbley lines? They are beautifully calligraphic.

  • gioachim martinez says:

    I Like the way you enjoy you work. G.b.u.

  • Ignacio Balais says:

    I like your style

  • Tania Blanco says:

    Thanks for all the many wonderful tips with commentary. Very inspirational

  • leslie dalton says:

    Beautiful work! Very inspirational! I'm working on various combinations of intuitive, negative, reductive, and abstract and collage painting, at the moment. Creativity seems to flow when working intuitively, don't you think? Lovely! Thank you, Pamela, for sharing your process and for the invaluable tip to use artist tape!

  • Robert Webber says:

    inspirational! Best R

  • Sandra Blackburne says:

    I really enjoyed watching you. Very creative to be able to work so spontaneously. Lots of ideas and a fabulous result. Thank you

  • Randi Kristin Strand says:

    How heavy / gram is the mixed media paper?

  • Wilson Kran junior says:

    I Love this one… thanks

  • Karl Halvorson says:

    Wonderful video! Would love to see a video on how you mount the final pieces.

  • iamveno says:

    So expressive. Great work.

  • Dave Holiday says:

    Beautiful painting. Thanks for sharing your process.

  • francisco says:

    wonderfully done. it was amazing to see it unfold into a very sophisticated work. Inspires me to just let go and explore.

  • Libby Sims says:

    Loving these colours and how you bring it all together with your hands…..amazing artist! Thank you for your generosity!

  • Rubin Grell says:

    Thank you so much for sharing your talent and methods. You are an inspiration!

  • Pauline Hughes says:

    Marvelous Pamela thanks so much wonderful to watch you wild and free !

  • Tiffany R. McCants says:

    Wow I just discovered your channel yesterday and have been immersed in your videos. You're so inspiring. I just started painting last year as stress relief, but I've never tried abstract painting until last week when I took a local workshop for painting without a brush. I had so much fun and felt like a kid again. I want to explore abstract painting more because I've never had so much fun painting before. Thanks for sharing your wonderful talent!

  • Denise Shaw says:

    Mesmorizing !!!

  • Laz Arus says:

    What’s it meant to be?

  • Wendy Russell says:

    OMGosh! Loved watching and listening. Sooo interesting. What a lovely way to express
    life and living. Very enjoyable commentary. Thank you.

  • Chris Darst says:

    You are a tranquilizer and zoom at once, calming the mind while stirring the creative juices. Each video sends me back into the studio with a fresh outlook and excitement. Grateful for your generosity and gorgeous work!

  • Grace Yap says:

    i lovet! very inspiring! super nice! 😍

  • billy gyal says:

    inspired. thank you. I love and do abstract painting. im a big fun of basquiat and jackson pollock. i love your work

  • Carla Armour says:

    I just so love watching you work. Always so many morsels and treasures to take away and just the pure pleasure of watching your paintings come alive. Keep them coming.
    I have found that Nova Paints are actually not available in the UK and they do not ship outside the US though, Do you know of a close brand as affordable and similar to them? They seem so fluid and workable but still so saturated. Let me know.

  • clingonWarbird says:

    Wow I am so happy I stumbled on your video! You do amazing work!

  • Jan-Chris Cilliers says:

    Hi Pamela, thank you for a great video, I learned a lot from your work. I love the way you work and style is a amazingly different than other artists. I can see you work with passion and calmness. Keep it up! 😉

  • John Delmotte says:

    Thank you for that vidéo, you are à very good teacher 😊

  • syam INDONES says:

    amazing art

  • Lone Wolf says:

    love this one!!!!

  • Joyce Maurer says:

    That was fun! Love the movement.

  • WOLF SOMMER says:

    This is not painting this is smearing – and people who like smearing well ok – it has nothing to do with painting – now for those weak in the art of using their brain – if this is art why are we throwing away the art of our children? I know that my children and their friends in Kindergarten are very productive and some of their work is from my perspective far better than this stuff and I'm being kind and not using the S word – but then I'm prejudiced I love my children. But no matter how tolerant I try to be this kind of smearing is just shit.

  • Nel Hoebergen says:

    This is 1 of you best paintings Pamela. I like youre acryl on paper and how you work whit youre hands and long brushes. Even je comment wen you make this paintings its more nice to listen to it and not boring as you work whit the cold wax. Maybe why it needs longer before you finnisd. This acryl paint are my favorite !! I see all youre movies and like youre styl. I work almost symilar as you. Hope soon wil come more acryl paintings from you …?
    Wish you succes Pamela

  • josiane Guet says:

    Chère pamela. Dommage que vos explications ne sont pas en français. Néanmoins je me régale de vous voir travailler. Quelle merveille.

  • Ramón Palmeral says:

    Me recuerda a Bargoni. Pero me gusta

  • Sorkbomb says:

    Wow, thats brilliant!

  • Gwyn says:

    Beautiful painting, I'm inspired! For some reason I'm seeing the Brooklyn Bridge going into Manhattan. I love how free and loose the painting is by painting with your hand.

  • sam art says:

    its amazing

  • alpha java says:


  • melissa munsterman says:

    Absolutely love your work! I work in multiple mediums but abstract is one I have not tried. I was wondering how you will mount this beautiful piece on a wood panel? I have always used canvas or worked directly on a wood panel.

  • Becky Lewis says:

    I’m not one to post online, yet I had to tell you WELL DONE! All of your paintings are amazing, however this one is so fun and fresh. What a delight! I know it was a blast to paint too. So happy for you. Thank you for sharing your process with us. I am inspired!

  • Katherine Bagshaw says:

    Really like the freedom expressed in your painting! I'm about to take a mixed media-abstract acrylic painting workshop and am inspired by your technique. Thanks for sharing!!

  • Zoe Toedter says:

    love it!!

  • ScrapArt says:

    How much$ for that masterpiece???

  • valerie rovins says:

    Hi Pamala, WHAT exact colors did u use for 3 warm and 2 cool. Pls let me know ASAP. I work w 30 artists and this question came up for quite a lot of us. Thank u from Norwalk, CT. Val

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