Painting 2 - Setting the Scene: Warm and Cool

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NOTES:

American Society Testing of Materials (ASTM) = lightfastness - how long it will deteriorate over time

1 is high quality, with UV light exposure it will be okay (archival!)

2 is good, can deteriorate some

3 is failure to maintain quality over exposure of light

Colors can be preserved through UV glass!

*** = best for astm, can be misleading



For Higher quality paint, each color will feel different because of particle size. Granulated vs smooth. This particle size can support blooming effects or buttery application. 


Gouache is more pigmented than water color due to an addition of pigmented oil chalk/pastel. Will dry matte due to this chalk. 


Binders in ink differ and will always stain/blend into fibers, for water color it is usually gum Arabic binder and sits on top of a page. Staining happens more in transparent pigments and is always even. Staining is good for a flat wash of color. 


Flocculation = pigments that clump together. 


Layering cool colors and warm colors changes the vibe (duh!) color relativity, subtle differences. Knowing these things adds an academic layer to your work and how you develop a space. 


Stain will not lift up (sometimes dependent on paper type, does not usually depend on how long its been on the page)


Water line is important in wet/wet technique. Use gravity to advantage to get an even blend. Start top to bottom and lean that page.


Inorganic

  • granulation (not always but USUALLY)
  • Coming from earth or rock milled down
  • Dyed
  • Opaque

Organic

  • Highly transparent
  • Good staining
  • Very vibrant


Based on carbon amount whether its in/organic


Delicate surface tape

  • best for water color paper
  • Does not usually rip up oaper
  • Like washi tape
  • Can layer it and use it as a masking taoe technique
  • 100-120 pound paper is not usually not great w frog tape


Be mindful of transparencies of paints, this is based on the mineral background


  • titanium will always be opaque
  • Zinc white is always transparent
  • Flake or lead is associated with white 


How Lydia might approach a gouache painting

  • Creates under-drawing depending on the characteristics of what she wants to paint
  • Need good understanding of drawing for good structure, the overlap of painting and drawing
  • Tracing, transferring, projecting methods are great if you lack drawing mechanics 
  • Carbon or graphite transfer —> take a pencil/graphite stick, and rub over the very dark material on the back 6,8,9 B material, then turn it over on the sheet, and outline what you want with paper
  • Carbon does not lift easily 
  • Tracing paper already has graphite
  • Grid method —> 1x1” squares on your final paper and reference, correspond section to each other to be able to transfer
  • Work with less paint first, then add more later —> gouache reactivates with water
  • Starts with a tone/wash
  • Can lift with wet paper towel 
  • Knowing the water consistency is so important for laying down the structure
  • Damp or cool paper to the touch is ideal


Problematic

  • first wash is REALLY wet and will not be consistent
  • Ideal is some dampness, no shininess
  • If too wet, some blooming can happen = out of ur control


Continues

  • wet on wet can be helpful with slightly damp paper = slight gradient
  • Can just block out the area loosely and speed the painting up
  • Hold the brush closer to the bristles to have more control
  • Have a clean brush next to u to lift if needed (or paper towel)
  • Be conscious of the consistency of what your painting with: grumbly 



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