[retrospective post] Part 5, project 2, exercises 1 and 2: Adding other materials – preparing a textured ground and mixing materials into paint

14 March 2017. I decided to report on the two exercises in this project in one post, since I combined them in some of the experiments I carried out.
This post is going to be somewhat difficult, because I threw away some of my experiments – they had nothing to do with my assignment pieces and went into the bin after I had submitted my portfolio.
I did a whole A2 watercolour paper with glue, dilute violet watercolour and writing ink. In order to at least describe the effects I made this bullet list for effects noticed:

  • wet glue spread thinly had no influence on dilute paint or ink dripped on it, both spread through the glue into the paper uninhibited
  • dry glue spread thinly repels some of both ink and paint, but much less so than anticipated
  • wet glue in strings will attract ink to travel underneath and into it. The ink spread slowly into the strongs of glue to add a greenish hue
  • dry glue will hold ink to a large extent, although a little will always travel for some small distance in the paper under the glue, paint will be repelled and the pattern produced by the ink stands out
  • wet glue placed on wet ink or paint repels some of the pigment contained, so that unpigmented rings develop around it. The degree of repulsion depends on the type of pigment involved
  • wet glue placed on dry paint or ink has no further effect

For the remaining experiments covering these two exercises I have photos. A few of these appear in other posts for this part of the course, since due to my failed rearranging of exercises they combine approaches (e.g. preparing a textured ground and dripping paint).

Since the effect of glue was a bit disappointing, I repeated the same with acrylic binder (in preparation for an assignment piece in my project “A Shadow on His Soul” (Lacher-Bryk, 2016a) (Fig.1-2):

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Figure 1. Sketchbook – experimenting with enclosing paint and ink in acrylic binder
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Figure 2. Sketchbook – experimenting with producing the effect of a person’s “soul” showing on the outside, acrylic binder spread roughly, then painted over after having become dry

The following two experiments (Fig. 3-4) were already described in my “impasto” post (Lacher-Bryk, 2016b), both using serrated spatulae to create a rough texture to be used later in painting portraits of Bashar al-Assad  for my assignment project “A Shadow on His Soul” (Lacher-Bryk, 2016a).

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Figure 4. Creating texture using a serrated spatula on a thick layer of acrylic medium
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Figure 5. Creating texture using a serrated spatula on a thick layer of white acrylic paint

Continuing the series by examining the special properties of acrylic binder, which I developed a liking for over time, I added sand, charcoal and white as well as writing ink at various stages during the drying process (Fig. 6 below):

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Figure 6. Sketchbook – examining effects with acrylic binder, sand, crushed willow charcoal and inks to create texture effects to be used in the assignment

In the series of experiments on mixing other materials into paint I had produced a background of white acrylic paint with dried, crushed leaves mixed in. In a dripping experiment I had used this background to see whether a shadow effect might be produced with applying ink with a pipette from one edge (Lacher-Bryk, 2016c). While the former did not work at all, I found that emphasizing the existing texture with a combination of writing ink and Persian Red antique ink would result in an incredibly beautiful metallic lustre and interplay of structure with the charateristics of the applied inks (Fig. 7-8):

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Figure 7. Black writing ink mixed with Persian Red antique ink on top of background consisting of a very rough mix of acrylic paint with dried crushed leaves
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Figure 8. The same as in Figure 7, but with an emphasis on Persian Red ink

Following an impasto experiment using acrylic paint and crushed willow charcoal (Lacher-Bryk, 2016b) I decided to investigate the properties of this type of background for my assignment painting project covering Hans Christian Andersen’s fairy tale “The Shadow” (Lacher-Bryk, 2016d) (Fig. 9):

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Figure 9. Sketchbook – experimenting on background layer of acrylic paint with grated willow charcoal, adding layers of different inks as well as acrylic paint

I very much enjoyed experimenting with texture. This was only a taster of a world of endless possibilities, but since it was dedicated to serve a particular purpose, I was also quite happy to have come up with a working background layer solution for Andersen’s tale.

References:

Lacher-Bryk, A. (2016a) Assignment 5, subject 2: “A Shadow on His Soul” (including Part 5 project exercises) [blog] [online]. Available at:  https://andreabrykocapainting1.wordpress.com/2017/01/21/assignment-5-subject-2-a-shadow-on-his-soul-including-part-5-project-exercises/ [Accessed 14 March 2017]

Lacher-Bryk, A. (2016b) [Retrospective post] Part 5, project 1, exercise 1: different ways of applying paint – Impasto [blog] [online]. Available at: https://andreabrykocapainting1.wordpress.com/2017/03/14/retrospective-post-part-5-project-1-exercise-1-different-ways-of-applying-paint-impasto/ [Accessed 14 March 2017]

Lacher-Bryk, A. (2016c) [Retrospective post] Part 5, project 1, exercise 2: Different ways of applying paint – dripping, dribbling and spattering [blog] [online]. Available at:
https://andreabrykocapainting1.wordpress.com/2017/03/14/retrospective-post-part-5-project-1-exercise-2-different-ways-of-applying-paint-dripping-dribbling-and-spattering/ [Accessed 14 March 2017]

Lacher-Bryk, A. (2016d) Assignment 5, subject 3: Hans Christian Andersen “The Shadow”. An attempt at an illustration (including part 5 project exercises) [blog] [online]. Available at: https://andreabrykocapainting1.wordpress.com/2017/02/02/assignment-5-subject-3-hans-christian-andersen-the-shadow-an-attempt-at-an-illustration-including-part-5-project-exercises/ [Accessed 14 March 2017]

 

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