Working in layers, experimenting with materials, and testing textures in my sketchbook are all part of my process, allowing me to find the right combination of elements before tackling a larger piece.
Supplies used in this video:
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Golden Fluid Acrylics – Titanium White
Golden Fluid Acrylics – Payne’s Gray
Medical Exam Table Paper – Crepe style (Large Rolls)
Golden Fluid Acrylics – VanDyke Brown
Pan Pastels Red Iron Oxide, Burnt Sienna 7-piece kit
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The Start of a New Project – Texture and Color
When it’s time to start a fresh project, I always feel a mix of excitement and curiosity about how my ideas will translate to the page.
My latest venture? A new sketchbook mixed media art series that lets me experiment with techniques I’m planning for a larger piece.
Working in my sketchbook gives me a chance to explore color, texture, and layering methods on a smaller scale—essentially, it’s my creative playground.
Why I’m Starting a Sketchbook Mixed Media Art Series
For this series, I’m using a repurposed cookbook as my sketchbook, and here’s why: the pages are heavyweight, glossy, and can stand up to everything I throw at them.
This format has become my go-to for testing ideas because the pages don’t buckle, and they’re perfect for the mixed media layering I love.
My goal is to create textured backgrounds with depth and nuance, something I’ll need in the larger piece I have planned for the winter.
Building the First Layers: Fluid Acrylics and Unexpected Materials
To kick off the background, I started with fluid acrylics in Payne’s Gray and Titanium White. Using a silicone paint shaper, I spread the paint across the pages, laying down a base of moody blue tones. I love how fluid acrylics flow easily, making it simple to create an even first layer without worrying about bubbles or streaks.
For this project, I’m trying out Yes! Paste as a textural element. Normally, Yes! Paste is a glue I use for collage, but since I ran out of my usual gloss gel medium, I decided to get experimental. Applying it with a palette knife, I added peaks and ridges across the page, letting it dry overnight.
Adding Luminosity
Once the texture layer was dry, I introduced one of my all-time favorite materials: Nova’s Super Pearl Gold.
This metallic paint adds a soft, reflective quality that brings a touch of magic to anything it touches.
My intention wasn’t necessarily to have a metallic finish for the background, but rather to create contrast by catching the highlights on the textured paste areas. I used a paper towel to buff some of it out, leaving subtle glints in the high points of the texture.
Layering Colors for Depth
To enhance the dimensionality, I layered in Payne’s Gray mixed with a touch of Van Dyke Brown, hoping it would sink into the low points of the textured areas. The results were exactly what I was after—depth and shadow that played off the golden highlights without overwhelming them.
A favorite color from my palette, Southern Ocean Blue, brings a tropical richness to the page. I applied it generously and let water work its magic, creating runs and drips that feel organic. This color’s intensity gave the pages that extra vibrancy, helping to balance out the darker tones and making the texture come alive.
Fine-Tuning with Pan Pastels
Once the paint layers were dry, I felt that the pages needed a bit more warmth and contrast. That’s when I turned to Pan Pastels.
With a burnt sienna pastel, I toned down some of the blue and added a bit of warmth that would pull the whole composition together.
I followed it up with transparent red oxide, which added an earthy undertone without clashing with the blue-green background. I love how these colors subtly change the mood of the page, adding complexity to the overall palette.
The burnt sienna tint (buff) colored Pan Pastel added just the touch of lightness this background needed.
Reflecting on This Sketchbook Mixed Media Art Series and What’s Next
As I dive deeper into this sketchbook mixed media art series, I’m excited about the potential of these small-scale experiments.
Working in layers, experimenting with materials, and testing textures are all part of my process, allowing me to find the right combination of elements before tackling a larger piece.I can already see that these techniques will help guide my approach in the future.
In the next installment, I’ll begin exploring the direction I want the larger piece to go in, by working in my mixed media sketchbook.
Tell me about it!
Tell me – do you use a sketchbook to figure out how you will approach large pieces?
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