Beauty: Exploring Creating Luminance 2

Before I added the second layer, as at the end of the last blog post.

Before I added the second layer, as at the end of the last blog post.

Following on from my blog post on 30 June, I added another layer to my experiment in creating luminance. 

As the first layer was so colourful (I'd got carried away again...), I decided to restrict the top layer to pale blue and white.  I wanted to create a veil of different levels of transparency, so that the colour underneath glowed through in areas and was occluded by a misty layer in others. 

I decided to create vertical marks, matching the basic direction of painting in the first layer. I used two whites - titanium white (opaque), and transparent white, linseed oil, solvent, and Winsor blue.

After the second layer was added

After the second layer was added

I wanted to create "brushless" natural marks, especially the little trees that white paint in solvent makes. So using Nita Engle's squirty techniques, I filled a little bottle with solvent for making trails and dribbles. 

This made the paint too drippy, so I smoothed it and added more stripes of paint with a palette knife. Here's the outcome. 

There's a lot I like about it, it is mistier, more subtle; but it is also less "luminous" than before I added the second layer. 

Positives:

  • I really like the subtle pinks and yellows coming through behind the whites and blues. Like a sunset, they are merged without being mixed (the way that a sunset graduates from yellow to blue without making a swathe of green).
  • I like the way using the solvent, linseed oil and a palette knife has broken up the top layer, in a natural organic way, and created so much detail and subtlety in the tones.

Negatives:

  • Less luminous than before.

I'm going to have another go, but apply the layers the other way round: tones of white underneath, rich transparent colour on top.