Updated on 26 February 2017 (Harvard referencing).
25 April 2016. Last time I went to our local art supplier I bought some acrylic gloss medium, with I wanted to test during the course. This exercise is a good opportunity. Since my not too good experience when diluting my type of acrylic paint with water over the last three months made me look for alternatives. So I will use the gloss medium for that purpose this time and also test its finishing effect. The instructions include a warning that the application of too many layers of medium may cause fogging, so I will need to plan carefully.
The first tests on acrylic paper revealed an increase in transparency of the mix paint/medium. It was also much easier to spread the colour, although I still noticed large differences in layer thickness when using a flat brush. The only chance of getting a totally even layer was to apply a relatively diluted mix, which was then of course very light in tone and – something I need to be very careful to avoid – had hundreds of tiny bubbles enclosed, which would not disappear during the drying process. What I will do here is the same as with custard powder stirred into milk, which is wait a few minutes before using the mix.
27 April 2016. The results of my experiments are summarized in Fig. 1 below. First of all I prepared small areas of my acrylic paper with 3 mixes for a white background:
1. Paper only
2. Acrylic binder on its own
3. Acrylic binder with about the same amount of acrylic white mixed in
4. Acrylic white on its own
Next I prepared a mix of gold ochre and primary magenta to produce Sahara sand orange (or what I think it might look like during one of those golden sunsets) and mixed some white into half of that. Both of these I again mixed with acrylic binder at a 1:1 ratio. All these I then tried out on all of the above backgrounds, finding the following:
- On the paper only ground the undiluted colours left dry-looking edges, an effect I quite like. When mixed with binder, the dry edges were gone, the paint was easier to spread and the chroma was enhanced, particularly in the mix without white.
- Doing the same on the binder only background reduced the chroma of the binder-added mixes strongly and the difference between the mix with and without white disappeared altogether. The colour only mix had no dry edges and dried without a glossy sheen, i.e. not surprisingly the varnishing effect is blocked by a layer of paint on top of it.
- The ground consisting of binder and white appeared to enhance colour and tonal difference greatly in all the mixes.
- Painting on white only ground the binder-added mixes appeared somewhat darker, Applying the colour only mix was accompanied with noticeably greater restistance.
- Applying a finishing layer of binder on the paint only areas did not increase brilliance in the same way as mixing binder directly into the paint – probably because the amount required for dilution was far greater than the ultra thin film I put on in my first attempt.
The above tests left me with a clear favourite for an indifferent ground layer, binder and acrylic white mixed 1:1. This I used to prepare the second half of the paper, then divided it up into triagles in the way I had selected from my photos taken in the previous step and experimented with different colours, colour and binder mixes and surface structures I thought suitable to represent sand, sea and volcanic rock (Fig. 2).
Since my intention was to emphasize that these areas interact, since the above seemed a bit dull, because it was too symmetrical, because I was not satisfied with the edges and, more importantly, because the chosen colours would not provide enough contrast for my objects, I spent another hour or two changing tonal values and edges (Fig. 3):
Later in the day I was going through a great number of screenshots I had taken during Drawing 1 and which had been sitting around on my computer’s desktop for a year to be cleared away. I came across one, whose origin unfortunately I cannot remember at this point, dealing with composition rules and there were, more or less, my triangles (Fig. 4):
This discovery helped me decide that I would use this background to work from and, to do a quick test, I placed my objects on the background (Fig. 5a-c):
From the above it is obvious that contrast will have to be enhanced further. My intention here is to get acquainted with the structure of my objects by drawing (ink, pencil, watercolour and/or similar) in the next step and to adapt the background only after successfully translating them into painted objects. I have an idea for this, which might look quite interesting if I succeed in making it visible, but that will have to wait a little longer.