Artist's Prayer

Give us Your daily Inspiration
So, we can live a Creative Life.
And lead us away from self-doubt,
For to doubt our creativity
Is to doubt Your Voice within us.

Saturday, April 25, 2009

Few More Words On Artwork Aging...And Paint Pouring

As I've said before, when altering an image, always use a copy, if possible. The sheet of paper I'm aging in the below photos is a printout of some original texts I had found online. Before applying any paint or medium to the printed surface, especially to the ones right off an ink jet or laser printer, I highly recommend that you'll spray the imagery with, at least, two coats of Archival Varnish, letting the layers dry in between applications. Archival Varnish is sold in spray can containers and you must work with it Outdoors Only! I use it in my garage and leave the door open for a thorough ventilation. As a product itself, archival varnish will create a protective coat-barrier for the ink, paint, or pastels' particles. That way, once you move to the altering process itself, there will be no color or ink bleeding.

Once the varnish dried, I proceeded to finally have some fun... This particular sheet will most likely find its final destination as a cover to a, not as yet identified, surface.... perhaps a glass one. In the meantime I've applied, altogether, four acrylic paint glazes and two layers of soft gel semi-gloss. Here's how it all started....

I applied a heavy glaze of Golden Liquid Acrylics Quiacridone Nickel Azo Gold.... I don't know how we were able to even approach altering art BEFORE this magnificent invention of QNAG?

Undiluted, Liquid Titan Buff is applied to selected areas with a palette knife... this particular color is slightly translucent, so I decide to use it without glaze.

Using a damp paper towel I wiped off layers of paint, in some places going all the way to the varnish. Again, I'm comfortable to keep on wiping, knowing that the ink will stay protected thanks to the protection of the varnish...

Here, I worked with my palette knife while applying a somewhat heavy layer of Golden Soft Gel Semi-Gloss in order to Deliberately create ridges and uneven texture. Once dried, the surface is very smooth to the touch, yet holding gentle variations in texture which I like to use as 'anchors' for the future layers of paint glazes.

This step depicts a sporadic application of Golden Liquid Acrylics Brunt Umber Light utilizing a make up wedge-shaped sponge.

Another heavy layer of Golden Soft Gel Semi-Gloss... finally variations of layers, textures, and values are making their appearance.

Let me make another introduction at this point.... please meet Golden Liquid Acrylics Green Gold, applied in this step as a glaze that exudes a deeper patina... perhaps some old signs of mildew??? I know it sounds gross, but we're not here to ask questions.... our answers are to be found in the process of altered art making.

This part of the altering process may be a bit challenging, yet at the same time offer an abundance of visual and textural rewards. I mixed few ounces of Golden Clear Tar Gel in a plastic cup with a drop or two, literally of the following paints, all of them being Golden Liquid Acrylics: Quinacridone Burnt Orange, Transparent Red Iron Oxide, Brunt Umber Light, Sap Green, Carbon Black, and Interference Oxide Red. Next, I mixed it together with a wooden spatula in a cup and off I went to pouring the entire content of the container onto the surface. Let me give you a bit of clarification on this, seemingly ridiculous, number of single paint colors incorporated into the pour. I've said before and I'm upholding my spontaneity statement here again.... once I started adding and mixing the paint with tar gel and the mixture didn't not 'feel right' I kept on adding and mixing more products in. When it comes to your own altering process, PLEASE, trust your intuition, your inner voice, your imaginary friend, or however else you communicate and express your creative voice.... I'm only sharing my own journey here, hoping to inspire you to trust your inner muse and embark on your own journey.

Because the tar gel is not the easiest to manipulate with, I decided to ask gravity force for assistance... I stood the surface vertically and scraped off bits of product-paint mixture using my palette knife then left it to dry.

Creative credibility is always on the line when it comes to altered imagery and a convincing look that spells out 'antiquity'.... I love the challenge and always welcome it with my arms opened.

1 comment:

  1. I love antique, aged creations. Didn't know about spraying archival varnish on printouts. Also clear tar gel and all those liquid acrylics look divine. Wish I could buy all those colors you mention. You've inspired me to start doing some collaging, I've been holding back but it looks so fun and I want to play, play, play. I can see why you open your arms to antiquity, you have a wonderful way of making it come to life here.