Yesterday I discussed some transparent yellow options in my quest to create a pseudo four-color gum version for my new cyanotypes series. In retrospect, I missed a couple of other transparent yellows in my watercolor kit to evaluate; Yellow Ochre and Sepia. So more about those other yellows at another time after I have had more of a chance to work with these. Today is about adding the Magenta color layer in the CYMK painting process.
In my watercolor kit I had two transparent Magenta colors; Alizarin Crimson and Permanent Magenta and as you might suspect, the Permanent Magenta is pretty dang close to the CYMK printing ink. As you can observe in my color test, below, the Alizarin Crimson is pretty close but leans towards a strong red undertone. In my color test, in addition to what occurs with both of these Magentas over the cyanotype blue was to evaluate the potential interaction with the earlier three yellows. There are some slight differences, but since I will be adding each of these colors as a spot color, these combinations offer me more creative options.
In my cyanotype evaluation painting of Surf-Rider I, the young surfer’s wet-suit top, which I had earlier added some yellow, now was layered with the Alizarin Crimson to try to create more contrast. For the top right background hills and receding coast line I used the Permanent Magenta to cool down the yellow and work towards a dark brown (without using a dark brown, such as my Burn Sienna, Raw Umber or Van Dyke Brown, many of which are semi-transparent). In this particular painting, I did not anticipate as much use of the Magenta. It would be interesting at a later time to see what might occur if I were to use a Digital negative for a Gum Bichromate layer, guessing there might be more tonal variations in the ocean’s water.
Again, like the yellow, I probably used too large of a watercolor brush for the detail painting I was trying to create. This is what might be called a ‘tight’ painting that leans towards a realistic rendition versus more loose and abstract painting. In fact you could probably say straight or photojournalistic photography is the tightest version of the fine arts. I have a tendency to start painting really tight to understand the basics and then eventually I begin to loosen up.
Okay, maybe the far coastal line in the top right edge is pretty loose and abstract, not that I wanted it to be. LoL
Next: the Indigo/Payne’s Gray layer
Cheers & make every day an Earth Day
Doug
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The Flow of Light Brushes the Shadow, an artist book from Singular Images Press, Fall 2022 release, $60.00 (CA sales tax for those residing in the USA) plus shipping expenses. Message me douglas.stockdale.artist@gmail.com or singularimagespress@gmail for shipping details and PayPal invoice.
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