TO GLAZE OR NOT TO GLAZE (click for a larger image)PAULA - 2008
Top photo - nearly no glaze at all
Bottom photo - super thick, poured on glaze
made from soft gloss gel, matte gel, water,
fine gold and interference blue (a la Nancy Reyner).
Aside from the fact that the bottom
one was a bear to photograph, I *think*
I like it.
I'm not so sure how a person
would take adequate photos
to represent and sell online, this seems
to be a more in-person
presentation.
I've been having lots of fun with glazes
and playing with some small 4 x 4
canvas covered boards. They do have
a faux encaustic look without having to
run out and stock a whole studio wtih
encaustic supplies, not to mention the
durability factor increases dramatically with
the acrylic glazes.
Kim uses a lot of glazes in her work and so
is the main inspiration for me trying out this process.
Bottom photo - super thick, poured on glaze
made from soft gloss gel, matte gel, water,
fine gold and interference blue (a la Nancy Reyner).
Aside from the fact that the bottom
one was a bear to photograph, I *think*
I like it.
I'm not so sure how a person
would take adequate photos
to represent and sell online, this seems
to be a more in-person
presentation.
I've been having lots of fun with glazes
and playing with some small 4 x 4
canvas covered boards. They do have
a faux encaustic look without having to
run out and stock a whole studio wtih
encaustic supplies, not to mention the
durability factor increases dramatically with
the acrylic glazes.
Kim uses a lot of glazes in her work and so
is the main inspiration for me trying out this process.
5 comments:
I would have to see them in person to decide, but from the photos I like the top one best. I am glad you are having fun!
Paula,
It is hard to tell from the photos. I haven't finished varnishing my paintings yet, but I'm imagining the photo shoot of them will be a challenge.
Oh, I see! You are using matte glazes. Was the bottom one fully dry when you photographed it?
ooh pretty, glaze or no glaze!
Hi Paula,
This is a really good test. While I have not done the gloss/matt/inference combination, I can just imagine the difficulty in photographing these. Just the plain gloss glaze is a major photographic issue.
I think what it takes is a good tripod and at least two good studio lights you can position to help eliminate the glare from the reflections. At this point for me, it is a lot about "shoulds" in photographing. The best I can do, right now, is to photograph at a slight angle...and I still get a glint. Look at the photo of the glossy painting I have on my blog...I think you said it reminds you of unraveled electrical wire. That was close in, slight angle, no flash and in the shade on a sunny day.
I am going to have to give this glaze combination a try.
I think those of us who are doing the glazing and varnishing need to keep each other informed.
Thanks so much for sharing these really great paintings...
From these photos, the top colors seem brighter and sharper. The bottom more muted as if behind a skrim. I guess it depends on the effect you prefer for this particular work. I love muted paintings, see Gwen John's work for muted. But of these two I think I'd go for the top one. Still, very hard to tell without seeing them in person. And the ideea is to explore what the various glazes do so this seems quite a successful adventure.
Kim I think it was myself who described it as unraveled electric wires or phone wires though Paula could also have said that too.
Post a Comment