Thank you Pandora. A piece of my stepson's snake's shed skin, bonded to Burnt Umber Gesso with polymer medium, and dry brushed with Iridescent Bronze.
Looking forward to spending the weekend on the water. This detail reminds me of the feeling of sunlight on water.
A sprinkling of Tri-Art Hologram Pearl Spectral Colour trapped in a layer of Self-Levelling Gel with wisps of Phthalo Blue Green Shade Liquid over an underpaint of Arylide Yellow on a substrate of aluminium foil. Reflections and depth. Want to dive right in!
Mosaic tiles, made from 2mm thick acrylic skins, attached to each other while dry but uncured using pressure - no adhesive. Illuminated from beneath a thick layer of glass.
Jell-O was one of my childhood inspirations. I used to put in in my spoon and hold it up to the window, or the light. Thick nuggets of clear, saturated colour.
The stained glass windows of cathedrals throughout Europe, and that stuff jiggling in my spoon, equally influential to me...carrying light through pigment, moving me, amusing me.
Graphite has long been a favourite tool. I have a ridiculously large cache of graphite sticks and pencils. I favour the B's, the softer and darker the better. There are times when I go for the pure powder, brushing it on so lightly. It is so fine, and has such a perfectly neutral tone. Tri-Art's Graphite Grey (liquid pref.) is a heady colour. Deeply grey, with a subtle and rich lustre. ¡me encanta!
Buffing the graphite, be it paint or line or powder, brings out the mercury like sheen, and rubbing it onto an painted acrylic surface (most effective on matte or semi-gloss) defines the finest details in the brushstroke and texture of the surface. I really dig this stuff.
Slow drips of tinted Self-Leveling Gel coalesce into a wavy pattern.
The leftovers from a 3-dimensional piece, which, when cured, eventually became acrylic "tiles" for a mosaic lampshade.
Details from projects in The New Acrylics.
Pulling out the subtle detail of text that has been incised into wet gel with a bamboo skewer with a whisper thin wash.
Always wait until the gel is dry, though it does not have to be fully cured for such a light wash. This piece has long been covered over with layer after layer of paint for demonstrations. Nice to look back to the early parts of the process.
Collage detail in Colour Shaper texture-scape. The collage piece itself is less than 3cm across. A small tribute to a childhood hero.
Having spent part of my childhood in Europe, visiting the great galleries and seeing so many masterpieces up close (I always tried to get really, really close) gave me an even greater appreciation of detail. Thank you Botticelli, Vermeer, Rembrandt, Klimt, Schiele and Jacques-Louis David.
Gesso - I rarely use it as a ground, or primer. The gesso I use drips so smoothly, leaving distinctive threads with lightly rounded edges. The light tooth grips paint I dry brush onto it with smooth uniformity, and washes get caught in the channels between threads. I can sand it, carve into it, or just leave it as is.
This is white gesso with a wash of Transparent Brown.
Detail shot from The New Acrylics. I had produced a series of simple textures using Gloss Gel Medium and Phthalo Turquoise, which I dry brushed with some Iridescent Deep Gold.
This particular segment is what I call "veining". Super Easy.
Put paint down, cover with flat thing (in this case, a plastic palette knife) and lift. Repeat. The suction created produces raised ridges. Dry brushing with iridescent colour brings out the ridges, giving them amplified dimensional relief.
Simplicity can be so beautiful.