Just taking notes in preparation for my “Bathtime” piece as well as documenting in general. Not a terribly interesting post for anyone but me, I’m afraid . . . all products used are Golden unless otherwise specified.
Yesterday I mixed Clear Granular Gel (CGG) with heavy body Mars Black + Dioxazine Purple and painted over 1/3 of a gold gessoed mini canvas. I then mixed the Mars Black with Anthraquinone Blue and did the next third. The last bit I painted with untinted gel. Might as well not have used the purple or blue–I couldn’t see any evidence of it, so use less next time (or don’t bother and put it on top).
Today I painted over the untinted clear gel with fluid Carbon Black. Laying down the untinted CGG and then painting on top of it once dry is good if one wants what is underneath to peek through in places. If full coverage is desired, it’s best to mix the paint in with the gel before applying. And remember that although it’s named *clear* granular gel, the parts where the granules are does dry snowy white, just as Patti Brady says in her book Rethinking Acrylics.
Over the top of the two-thirds of the canvas that had been painted with tinted CGG, I first brushed fluid Interference Violet, then Interference Blue (Liquitex–Jerry’s was out of the Golden). After letting that dry a few minutes, I brushed over all of it with the fluid Carbon Black that was now on the paintbrush I was using. This toned the interference back down and brought the black back up. I think this is going to work for my piece. The purple is quite purple, though; the blue is more subtle.
I also mixed some Extra Coarse Pumice Gel (ECPG) with Phthalo Blue (Red Shade) and applied to a couple of mini canvases, one that had white gesso and one that had a wash of fluid Transparent Yellow Oxide on it. It looks so cool! Putting Interference Violet over this looks pretty neat. I’m not sure about the Interference Blue, but I may not have shaken it enough before applying–it looks milky white, and I don’t think it’s supposed to be that way.