| Author | Message | ||
  Linda |
OK, does anyone know? | ||
Linda |
Windy, Wei T'o is something I would like to find, but I've found that the business name and address you offered has gone out of business. Do you know where else I might find this magic formula? | ||
Windy |
anneengw, Yes, it works better than the W&N lifting preparation (which ruined my first try at this scene). There are two solutions that I work with: 1. Heavy solution for badly scarred paper. Take one teaspoon or more of Knox gelatin granules and mix with 1/2 cup or more of water. Heat in microwave to quite warm to completely liquify. Brush warm liquid onto paper, let dry in dust-free area. Excellent for lifting even staining colors, for priming razorblade holes to painting surface, and as final layer over painting to give unusual finish. I hear gelatin is slightly acidic, so for archival purposes get "Wei T'o" and apply to the paper beforehand to provide an acidic buffer. You can get this from Conservation Materials Limited 240 Freeport Blvd PO Box 2884 Sparks, NV 89431 (catalog available) 2. Regular paper sizing, when you know you've brushed or washed it away - 1/2 oz. Knox gelatin granules to one gallon of water. Brush on and dry in dust free environment. No acidic buffer needed. Also remember that ultramarine is quite sensitive to any acid. I find it fades the color slightly when I use solution #1 underneath or over it. I simply intensify the color (because so far I've only used it desaturated with burnt umbers and siennas, and so adding a little pure ultramarine is an easy fix for me). I was blown away when I did several layers of thalo and quinacridone to darken the sky to the proper value, and then added ultramarine blue to the final layer. It looks like velvet, like you can plunge your hand into the darkness and feel it. However, it is very very important to make sure the gelatin layer is a smooooooth coat (apply with your largest sable brush, or even dip it) because brush marks will show through the final paint. It can look really neato, too, these brushmarks, but they can also be a distraction. I used a heavy hand adding the ultramarine to the final wash, was it ever worth it!!! | ||
anneengw |
Windy, Did you say you put Knox gelatin on the paper to be able to lift after applying staining colors? If so, what quantity? Also, do you think it may affect the archival quality of the paints/paper? Any thoughts out there? Great response on dark skies. I will try this also for some nighttime fireworks. Thanks John and Drollere and Windy. | ||
drollere |
now, you have to *post the picture* here when it's finished ... | ||
Windy |
drollere, I've got it! Luminosity - it positively GLOWS now! Just with the addition of some ultramarine...gollEE what knowing about paint formulations can DO! What a difference! Like night and day, is that a pun? WHY did that work? Increases the chroma? What does that mean? It looks like absolutely MAGIC to me, the difference before and after...why IS that and WHAT is it I need to learn to continue to produce such color QUALITY!? I've already learned to return to this website! | ||
Windy |
Wow, surprise! I am glad to hear your advice as well. I wanted to add ultramarine, but thought the granulation would detract. I'll try it, seeing as how I'm still working on the painting, and layering to get it dark enough. Thank you for paying attention, drollere. I'll let all know how it turns out. So far I've got a full moon idea going with mountains covered in lights, mostly low-pressure sodium streetlights, houselights, and a few "white" (greenish) lights [oh yeah, also the red marker lights for the airplanes]. I sprinkled masking in drops, removed the splotches and the non-picturesque dots, then sized the paper with Knox so I could lift the phthalo (which LOVES to pinhole) more easily. Using so far phthalo blue RS mixed with quinacridone pink. Much too light, so now I'll try a layer or two with ultramarine added. All I'm after, at this point, is a smooth wash (Knox made an impression) for the sky, then will layer and layer very darkly the mountains. Then lift the masking, etc. I guess it's kind of abstract, as there is no foreground, but I find it a lovely metaphor for the enlightening of the masses. It touches me very deeply and I'll keep going until I get it. Will keep updating... | ||
drollere |
my tip: indanthrone blue and ultramarine blue, or dioxazine violet and ultramarine blue, or indanthrone blue and cobalt blue deep. the dark synthetic organics -- indanthrone, phthalo blue, dioxazine violet -- have an irrepressible tendency to pinhole, speckle or blotch if applied by themselves. you can try multiple layers, the usual recommendation, but this is tedious and may not be worth the work. adding a small amount of a synthetic inorganic -- cobalt or ultramarine -- acts to cream the color slightly, making it easier to lay on smoothly, filling up any holes, and increasing the chroma slightly without lightening the dark value. both ultramarine and indanthrone are very saturated for their darkness, so the sky will be dark but quite luminous. they are almost exactly the same hue, a gorgeous blue violet. if you want more violet, use dioxazine, if you want more blue, use cobalt deep. | ||
John Preston |
Windy, glad I could help... this site is a real find, I've learned TONS here and had fun doing it. | ||
Windy |
Thank you, John! Your answer is eloquent, educated, and full of ideas. You are the only one to answer on two artists websites. May you create many transcendent works! | ||
John Preston |
Tough Subject..."Luminous" and "near black" are sometimes mutualy exclusive in watercolor. Probably you have to decide between "luminous" and "near black", giving one precedence. If moon or stars are involved I'd opt for "near black" to make them look brightest and apply a single strong wash of dark, transparent, staining pigments and mask the stars or moon. Perhaps a mix of Indanthrone Blue and a bit of Payne's Grey? Pthalo Blue bronzes, but Prussian is VERY similar, though a bit more subdued and just as staining.It would require less Payne's Grey. If "luminous" is what you're after you could follow the lead of N.C. Wyeth and Frederick Remington and keep everything in a narrow value range that is at the medium/dark, not dark end of the spectrum. They used a precursor of the "Day for Night" movie technique. Again , you could use a mix of dark, staining pigments but would have more choices since you're not having to go as dark. Here Pthalos might work since the 'bronzing" occurs at heaviest concentrations. Perhaps Pthalo Green, your Alizarin equivalent and Payne's Grey for a more purple color. They kept their pictures in a medium value range with few if any highlights (stars or campfires) and saved their DARK darks for areas like cast shadows under rocks and such. The net effect was like a full moon night. It will be interesting to read other approaches to this subject. Jump in everybody! | ||
Windy |
How do you paint a night sky that is near black without bronzing, lifting pigment with successive layers, and is still luminous? Phthalos? |
