Amanda Christine Cox


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Press and Critiques

Gallery 1: Post BA

Gallery 2: BA Year 3 (Final)

Gallery 3: BA Year 2

Gallery 4: BA Year 1

Gallery 5: Foundation

Gallery 6: Pre Foundation

Technical Notes and Discoveries

History of Site

Biog of Author


Contact The Artist



Amanda Christine Cox - Contemporary Fine Art Painter


Technical Notes and Discoveries

Tricks and Tips and Trips..

AUGUST: Currently working on some pieces for a show in an Indian Cultural Centre. Chose a dark red background where a blues/white/yellow floral/mystical motif was going on to. Originally I wanted the background a velevety soft even crimson, but as I had run out of gesso for my usual technique (see JUNE) for an opaque ground I tried various ways to make the horrible cheap acrylic a solid colour. Dark red is probably the hardest hue to apply evenly as the pigment seems to be so poor and/or badly distributed through the paint. I tried a watery coat then multiple applications over the top. That just looked streaky and a bit crap! Then I thought of apply the paint like little mosiacs, painting in squares with gaps in between then filling in the gaps. This actually gave the piece a rich depth and pattern over the existing streaked mess and with the variation of application gave the ground a lovely gauzy effect - ideal for an India themed show as to me it is reminiscent of the layers of material in a Sari. So I will do 2 long tall canvases like this and I think I will apply just small motifs with some space in between so that the ground shows through and gives some sense of depth.

JULY: Underpainting I have found to be a very important tool in creating my vibrant paintings. If you underpaint lighter colours with white (such as yellow, cyan, red, orange) they really zing out on a dark background, as if they have been cut out and pasted on. This is great for optical illusions.

JUNE: To get around the problem of the transparency of cheap acrylics (System () no names no lawsuit!) when you want an opaque and even large area I have carefully developed a technique. It basically involves putting some good quality gesso (the chalky stuff rather than the plasticky stuff), watered 1:3, into the paint at approximately 1:6 or 1:5 ratio. Too much would render the colour too white. Hues that this works with best are generally reds that just out of the tube/tub are a bit too dark anyway. It is best to apply this quickly and in a cool environment to avoid lumps. Resist