Jo Toye - Abstract Explorations in Acrylic Painting: Fun, Creative and Innovative Techniques

paints, assorted

fluid acrylics, assorted

paintbrushes, assorted

papers, assorted

pencils, assorted

scraper

small cat food can

razor blades, assorted

pipettes or eyedroppers

mouth atomizer

foam rollers, assorted

craft knife

Resist Pen, assorted

fine mist spray bottle

applicator bottles, assorted

rubber cement pick-up

glue gun

glue sticks

teflon

silicon sheet

card stock

styrofoam plates (palettes)

chalk, white

make-up wedge sponges

dry erase marker

clear plastic sheet protector

stencils, assorted

bone folder

masking fluid

acrylic glazing medium

gesso, assorted

India ink

paper towels

palette knife

plastic

Yupo

masking pen

masking tape

old painting

cotton swabs

sponge

Clear Tar Gel

Education is not the filling of a pail but the lighting of a fire. William Butler Yeats

I know most of us dont read art books but we love art bookswe buy art books, we fill our bookcases with art books and sometimes we actually pick them up and look at the pictures (this is usually right after we buy them and right before we place them on the bookshelf). But, if you are reading this then you have happily proved me wrong and I can keep on writing with the confidence that at least one person is reading what I have to say. So, while Ive got you and before you relegate me to a lonely and sedentary life on the shelf (at least sit me out in the studio or somewhere sunny), let me give you my pitch for why you might want to read the rest of this book as well as how this book might facilitate your growth as an artist.

In the first section of this book, Concepts and Materials, I share with you the why. I explain why playing is fundamental to skill building; why I always start more than one painting at a time; why one small change in each painting can lead to big results; why I use line extensively in my paintings and why, in my workshops, I instruct my students to work on paper no larger than 100 square inches (254 sq. cm). Additionally, I explain why I use certain materials and why you, too, might want to give them a try.

In Parts 2 and 3 I share the how. People are always intrigued by how I create my art. So, in these sections I show and explain how I do what I do. In Part 2, I demonstrate how to use the various tools that are the foundation of many of my techniques and in Part 3, I show how I accomplish these techniques through step-by-step demonstrations. I have been very careful to include extensive and detailed pictures and captions so that, if you wish, you could accomplish each technique as I have presented it.

I hope you will read this book because I can tell that you are someone I like. I know this because you, unlike the others (I wont name names), have not yet abandoned me to your overflowing bookcase. And because I like you, I want to share with you why I wrote this book.

I wrote this book for you. Yep, you read that rightyou. I wrote this book to serve as a kind of diving board to help plunge you into your own creative waters. As artists we have the amazing privilege to bring into this world something that has never existed before, and your art, your unique expression in this world, can not be brought forth by anyone but you.

So, I wrote this book on experimental techniques to help you dive into your art with a renewed sense of possibility and passion. As artists, I dont think there is anything more thrilling than to be immersed in our work in such a way that when we eventually come up for air, we realize we have created something that is beyond our ability or knowledge to create. We know that our hands have held the brush, but we sense that something beyond us has moved through us. This is the glory of creation, the glory of being an artist, the glory of being co-creators with the One who calls all things into being.

I wrote this book in the hope that it will inspire you to surrender to the art that percolates in you just waiting for the opportunity to be released. Take from this book what you find intriguing, play with it, morph it, incorporate it and make it a vehicle for your own expression. Bringing this book into existence has been a long but rewarding journey, and I am so honored that you hold it in your hands. I hope that throughout it you sense my heartfelt desire to be an open channel of information, encouragement and inspiration. It brings me great joy to be a small part of your artistic journey. And since I already like you, I hope one day that this journey of life and art will allow our paths to cross.

With Gratitude,

Jo

Reflections of Glory

Jo Toye

20" 20" (51cm 51cm)

Watercolor on canvas

Good Times

Jo Toye

15" 18" (38cm 46cm)

Acrylic on 140-lb. (300gsm) watercolor paper

If you hear a voice within you say you cannot paint, then by all means paint, and that voice will be silenced. Vincent van Gogh

OK, lets get started. As I stated in the introduction, this section explains the why. The first part of this section contains the answers to why I do what I do and the second part explains why I use the materials that I do. I suppose the first section is really about inspiration. Perhaps you will find that the methods and materials I employ are not exactly suited to the way you work, but I do hope that something in this section inspires you to get going. Thats the whole reason for everything in this bookto inspire you to create.

So, what are you going to create with? The pages about materials will give you some great suggestions. I outline all the different materials that I use and that I find are best suited for my techniques. If you dont have what I suggest then use what you do have. Most of us have more materials than we could use in three lifetimes, and I hesitate to imply that you need to go out and acquire more. However, Id do you an injustice if I didnt tell you exactly what I use and why, but since this is a book on experimental techniques, if you dont have what I use, experiment with what you have and let me know about the exciting discoveries you make!