Documentation

Methods and Materials

Paint the Town Red, 2023, oil paint, pumice, acrylic gesso, MDF, pine wood frame, and red enamel paint, 101 x 131.5 x 6.7 cm (framed)

Experimentation of Textured Grounds to Create a Grainy Photographic Effect.

My intention was to investigate various artistic materials that can alter the surface with textural properties, adhere to the substrate, and facilitate the application of oil paint while guaranteeing long-lasting durability. The issue of adherence is infrequently encountered when applying oils over a wide range of acrylic substrates. Many gels, paints, and mediums frequently demonstrate favourable adhesion characteristics when used in conjunction with most oil paints. Acrylic paint films, regardless of their sheen, generally possess a certain degree of porosity that allows for the adequate infiltration of oil paints, leading to the development of a reasonably strong bond. The adhesion of oils to acrylics is determined primarily by technical considerations, leading to the most effective adhesion when applied to surfaces with a matte and toothy texture. When combined with high-load acrylics, matte acrylics present very suitable surfaces for oil painting applications. Similarly, matte mediums, pumice gels, and moulding paste provide a textured surface suitable as grounds. To improve the adhesion of oil paint on glossy acrylic underpaintings, one may consider the application of a thin coating of Fluid Matte Medium. Gels and mediums employed as substrates exhibit a spectrum of viscosities, ranging from fluid to viscous, enabling painters to modify their acrylic paint systems. The extensive array of diverse gels and mediums available for selection appears perplexing and daunting.

Nevertheless, by possessing a rudimentary comprehension of the diverse range of items accessible and a proclivity for exploration, artists can generate novel modes of self-expression and potentially employ materials in unconventional and unforeseen manners. To achieve the intended aesthetic of a textured surface resembling film grain and fragmented images, I considered combining different acrylic mediums with various materials such as sand, marble dust, and glass beads. The gels and mediums consist of polymers identical to those found in acrylic paints. Essentially, they are the cohesive element that solidifies and transforms into cohesive, resilient coatings. The materials in question consist entirely of acrylic polymers, which have been scientifically demonstrated to possess exceptional properties such as flexibility resistance to various chemicals, water, and UV radiation. By utilising the appropriate acrylic medium or gel in precise proportions, in conjunction with dry mediums, I aimed to effectively establish a ground that exhibits strong adhesion to the support that provides a reliable bond for oil paint. The conventional application of thicker gels involves the creation of relief or three-dimensional effects on the support surface.

In this context, extra-heavy gels, high-gloss gels, and moulding pastes serve as helpful instruments. One common application of gels and mediums is to prime and prepare specific supports. Thicker gels have the potential for utilisation; nonetheless, it is imperative to exercise caution during application to prevent holdout, which refers to the insufficient bonding between the gel and the support material. The use of adequate pressure during the process can effectively address this issue by facilitating the penetration of the gel into the tooth of the support. However, it is crucial to consider the viscosity and its impact on both the adhesion to the support and the evenness of the medium to establish a uniform and appropriate painting surface.

To inquire about the production of textured supports, I opted to experiment with several dry mediums, including sand and glass beads, in combination with diverse gel mediums. Among the many mediums employed in the conducted experiments, the standard gel semi-gloss, clear tar gel, and soft gel gloss demonstrated a notable degree of lustre and a deficit in porosity. This characteristic has the potential to impede the adhesion of oil paint. As a result, I endeavoured to combine the extra-heavy gel matte with a range of dry materials. Additionally, I incorporated premixed mediums, such as coarse pumice gel, into the experimental process.

Pumice Gels

The island of Santorini is characterised by a sedimentary sequence consisting of numerous layers of hardened lava and volcanic ashes, displaying a diverse range of colours. A significant event occurred in 1612 B.C., marked by a colossal volcanic eruption that stands as one of the most notable recorded eruptions in history. A considerable volume of lava, estimated to be thousands to perhaps millions of cubic metres, was forcefully ejected into the atmosphere. Subsequently, the lava descended and enveloped the remnants of the island. Lava cooling as it falls through the atmosphere contributes to the formation of many types of volcanic rocks. Hence, the contemporary composition of topsoil encompasses basalt, volcanic ashes, sand, pumice stone, and various other lava forms. I possess a diverse array of volcanic rock formations from Santorini, which I had intended to integrate into my artistic endeavours. Utilising a traditional pestle and mortar apparatus, I deliberately chose to pulverise the pumice substance and combine it with an extra-heavy gel matte medium. Due to its lightweight and porous nature, I effortlessly ground the pumice material and effectively blended it with the acrylic medium.

Nevertheless, the management of the coarseness of the pumice proved to be a challenging task, leading to the production of a significantly finer granular substance. Consequently, rather than attaining the desired robust texture, the outcome resembled more of a paste-like consistency. After researching the rock and its application as a painting medium, I was excited to learn that Golden sells a premixed pumice gel available in three grades: fine, coarse, and extra coarse. In addition to its capacity for texture manipulation, the product must be supplied with a sufficient quantity of gel medium to ensure a robust adhesion and ample volume to cover expansive surfaces effectively.

The GOLDEN Pumice Gels exhibit suitability in creating granular or pebbled surfaces, whether three-dimensional or flat in nature. In the results of my experiments, I noted that the utilisation of Golden coarse pumice gel led to the creation of a visually appealing and consistently textured surface. Additionally, I discovered that this specific gel had an optimal degree of absorbency, necessitating a substantial quantity of gesso. This characteristic is expected to effectively preserve the painting by establishing a robust connection while facilitating the adherence of oil paint. However, avoiding using surfaces with high absorbency or reducing their absorbent qualities is imperative before oil painting. Surfaces that exhibit a high level of absorbency can withdraw an excessive amount of oil binder from oil paint, leading to an inadequately bound and fragile layer. This condition possesses the capacity to lead to eventual fracturing or peeling. Using acrylic or oil washes on absorbent acrylic grounds is an efficient method for reducing absorbency and enhancing the application of oil paint on the surface. Therefore, applying multiple applications of acrylic gesso to the pumice gel before commencing oil painting is crucial. My primary focus revolved around the possible effectiveness of incorporating a layer of gesso onto the pumice gel as an initial measure before applying oil paint to reduce the likelihood of flaking of the pumice gel and oil paint. However, I was concerned that utilising a layer of gesso might diminish the emphasis on the textured surface. Based on preliminary experimentation, the disparity is seldom noticed. Furthermore, when applied without a gesso layer, the pumice gel can absorb the oil binder in the oil paint excessively, hence rendering the oil paint layer more prone to breaking and deterioration. Despite the favourable textural qualities and apparent efficacy in preservation exhibited by the premixed pumice gel, I remained inclined to explore alternative mediums to attain the most optimal textural outcome, particularly as the pumice gel demonstrated a high cost and provided limited coverage on the surface and multiple mediums can introduce a tactile quality to the paint.

Sand/Gravel

In the course of these experiments, I sought to examine the application of sand as a foundational layer for textured painting, utilising red grain along with two different variants of black sand/rock from Santorini, alongside the commercially procured 0.5mm lang lang sand. Notably, the 0.5mm lang lang sand resulted in a texture that exhibited a finer quality compared to the coarser texture achieved with the pumice gel. Optimal results are more attainable by using a substrate with a coarser texture. While the outcomes obtained from utilising the coarse pumice gel were deemed plausible, my curiosity drove me to explore the possibilities presented by coarser sands, seeking options that could potentially surpass the efficacy of the finer 0.5mm lang lang sand.

To address this, I undertook an experiment involving the amalgamation of extra heavy gel matte with a red rock/sand sample collected earlier from a beach in Santorini, Greece, subsequently pulverised using a pestle and mortar. However, the experiment was marred by the notably uneven and rough nature of the self-grinding process, resulting in an inconsistent surface texture. Although it did yield a notably coarse texture, removing the finer grains from the coarser grains posed significant challenges, potentially impeding the even distribution of paint. This observation was particularly pronounced when examining the experiments conducted on the small canvas panels below.

Support/Canvas Preparation

Upon concluding my series of experiments designed to discern textured surfaces capable of authentically reproducing the photographic grain within a painted image, I decided to employ Golden coarse pumice gel to the support for this painting. The meticulous planning of an artist's support is necessary to create enduring artworks. The preparatory stage serves as a crucial link between the support and the paint system, playing a vital role in the longevity of the artwork. The selection of support, size, priming, and ground is directly influenced by the technique and type of paints employed. In the context of oil painting, it is imperative for artists to apply sizing to their canvases in order to prevent the acidic nature of oil from permeating the support material. Failure to do so may result in the deterioration of the fibres, leading to their eventual decay. In conventional practice, a hide glue, commonly derived from rabbit skin, was directly administered onto canvas or linen to enhance the rigidity of the fabric and safeguard the support from the corrosive properties of acidic oils. At the outset, this process rendered hard and fragile paints such as tempera and oils less prone to cracking. Paradoxically, the introduction of varied temperatures and humidity to the artwork later inadvertently facilitated the occurrence of cracking. Rabbit-skin glue and other glues commonly utilised throughout the "Old Masters" era have hygroscopic properties, indicating their inherent capacity to absorb water. The presence of moisture, typically in the form of elevated humidity levels, leads to the expansion and altered dimensional properties of the adhesive inside this film. Consequently, the film's rigidity diminishes, resulting in the development of cracks and eventual flaking of the paint film. The phenomenon described is primarily observed on canvases made of cotton and linen due to their natural elasticity, which enables the transmission of stress to the oil paint film. Using stiff supports, such as wood panels, significantly reduces the likelihood of swelling. Consequently, rabbit skin glue is deemed more suitable in this case.  The solubility of hide glue may pose a challenge when applying a waterborne acrylic gesso, paint, or medium over it, resulting in inadequate film formation and potential detachment from the support. Therefore, it is crucial to refrain from using hide glue as a sizing agent when utilising acrylic grounds, particularly when aiming to create a textured ground. Nevertheless, I have developed a growing awareness regarding the advantages of using acrylic grounds as opposed to animal hides and oil grounds. This shift in perspective is motivated by ethical considerations and the potential for enhanced longevity in paintings, thereby promoting long-term sustainability. It is important to acknowledge the ongoing debate surrounding the use of plastic mediums like acrylic gesso. It's also important to consider the financial viability of my practice when considering the use of acrylic primers, which are more cost-effective compared to animal hides and oil grounds. Additionally, acrylic grounds offer less flexibility, resulting in reduced susceptibility to cracking of oil paint when applied to lightweight and flexible support, thereby mitigating the expenses associated with transportation.

In terms of minimising long-term movement, rigid panels exhibit superior performance compared to flexible supports such as canvas. Incorporating a backer board or using measures to enhance the rigidity of the canvas may also yield advantageous outcomes for oil paintings executed on pliable substrates. In preparation for this artwork, I had already created a sturdy backing to mitigate any potential displacement, using a canvas that has been tautly affixed to the panel. Preferably, I am inclined towards the toothy and tactile quality of working on canvas. However, it is recommended to utilise rigid supports whenever feasible. Consequently, I chose to affix the canvas onto the panel instead of directly painting on the panel itself. Before I decided to explore alternative methods to create texture, I had initially prepared the canvas panel by applying rabbit skin glue for sizing purposes, followed by the application of traditional gesso (also referred to as oil ground). Additionally, I had already drawn the intended image on the canvas in preparation for the subsequent application of paint. However, I subsequently opted to experiment with a different approach, utilising a textured acrylic ground such as moulding pastes and pumice gel. It is important to note that, as stated, this combination is incompatible with the canvas previously prepared with rabbit skin glue and traditional gesso.  Due to this rationale, I decided to extract the staples and detach the canvas from the panel that I had initially primed, as the amalgamation of acrylic medium with assorted dry mediums is expected to yield a satisfactory bond with the support (panel) while also serving as a suitable base for the application of oil paint. Upon extracting the staples and detaching the canvas, it became necessary to engage in the process of sanding the panel. This step was essential due to the persistent roughness resulting from the application of rabbit skin glue. It is worth noting that the solubility of hide glue can pose challenges when applying waterborne acrylic gesso, paint, or medium over the glue. Such an application may lead to inadequate film formation and potential detachment from the support. The inhalation of rabbit skin glue and formaldehyde particles included in MDF can pose significant health risks. To mitigate these hazards, I took precautions by employing a P3 respirator mask equipped with twin filters. This protective measure was implemented using an electric sander to eliminate residual rabbit skin glue adhered to the support material.

To achieve a uniform distribution of the pumice gel across the panel, I positioned the panel in a horizontal orientation and employed a filling blade to disperse the gel onto the panel's surface equally. Nevertheless, spreading the pumice gel proved to be unexpectedly challenging, necessitating protective gloves and manual rubbing to achieve a uniform dispersion across the panel and ensure proper adhesion of the pumice. It's crucial to ensure all acrylic materials are entirely dry and thoroughly cured before applying oil. It is commonly advised to allow a minimum of three days for the drying process of a thin layer of acrylic, while thicker applications may require a longer duration. Additionally, drying rates are contingent on environmental conditions. The primary determinant of the drying rate is air movement, with the additional influence of elevated temperatures and reduced humidity, which can further accelerate this process. After the pumice gel had dried, I smoothed the edges by sanding, ensuring that the painting fit seamlessly within the frame, free from any rough or uneven edges. As we approached the conclusion of the course, I felt slightly apprehensive regarding the limited time left to finish the tasks and fully utilise the studio and its resources. To optimise my time, I enhanced efficiency by applying pumice gel to the canvas and constructing the frame during intervals between the drying stages of the pumice gel and the four layers of acrylic gesso.

By overlaying the image onto this textured surface, I found gratification in the realisation that the coarse texture not only heightened the photographic effects of grain and pixelation inherent in photographic reproduction but also ushered in a realm of creative possibilities. The textural foundation satisfied my aesthetic pursuit and expanded the horizons of my artistic practice, akin to the freedom and expressive potential one experiences when wielding a palette knife. The Golden coarse pumice gel, thus, emerged not merely as a technical choice but as a conduit for enriching the intersection of technique and artistic intuition in my creative journey. Each stroke became a dialogue between the medium's inherent characteristics and my creative intent. Unlike the smooth and controlled strokes that I am akin to on a flat surface, the pumice gel introduces an element of unpredictability and textural richness to the application of paint. Its peaks allow for the creation of bold, impasto textures and expressive strokes, adding a tangible dimensionality to the artwork. This departure from the finesse of a flat surface enabled me to engage with the canvas more dynamically, fostering a visceral and tactile connection with the painting surface.

Furthermore, the pumice gel not only served as a means to manipulate texture but also provided an avenue for the strategic layering of multiple colours commonly encountered in pixelated reproductions. This capacity to layer diverse hues on the surface allowed for a nuanced exploration of the visual complexities inherent in pixelation. The textured surface, coupled with the ability to blend and overlay colours, facilitated the recreation of the intricate and varied tones found in pixelated images. This deliberate layering process became instrumental in achieving a heightened level of fidelity to the characteristics of pixelation, adding depth and richness to the painted representation. The textured surface became a symbiotic method for translating the intricacies of pixelated reproductions onto the painted canvas.

The Face Mask

In addition to the textured surface using pumice gel, I aimed to explore the tactile attributes of the red facial mask depicted in the photograph. Within the presented image portraying a woman actively painting another woman's face, my primary aim was to develop a visually dynamic surface. This goal was realised through a purposeful amalgamation of distinct textures inherent in the facial mask. Moreover, I implemented a strategic approach to applying paint, superimposing it onto the textured surface of the mask. This deliberate technique fostered a dualistic aesthetic marked by juxtaposing contrasting elements with an interplay between the actual textured surface and the illusionism in the nuanced application of paint. By skillfully orchestrating these textures, I endeavoured to establish a sense of contrast within the composition, directing the viewer's focus and fostering heightened visual dynamism. To achieve this, I first conducted an experiment employing various artistic mediums to replicate the tactile qualities of a facial mask, carefully considering the potential interactions between the varied materials utilised in the painting.

Over time, it has been observed that oil paints tend to become increasingly brittle and prone to cracking. Both light moulding and crackle paste, characterised by their soft, spongy, and brittle nature, are unsuitable for providing a stable foundation for oil-based materials. While it is advisable to avoid applying acrylics over oil grounds and oil paints, the reverse, that is, using oil over acrylic, is acceptable. This is because oil paints tend to form cohesive and impermeable coatings that do not bond well when acrylic paints are layered over them.

However, despite these considerations, I found great satisfaction in the light moulding paste's visual appeal and lightweight nature. Consequently, I contemplated the possibility of incorporating acrylic paint into the paste as an alternative technique to achieve the desired colour outcome without relying on oil paint. Although it has been noted that moulding paste possesses a soft and spongy consistency, rendering it unsuitable for use alongside oil, it is crucial to carefully deliberate the potential areas of convergence between these two media and determine the optimal sequence for their application. Specifically, I considered the junctions where the eye, nose, and mouth regions, rendered using oil paint, intersect with the red facial mask that I aimed to replicate using a textured artistic medium. Hence, I recognised the imperative of using this medium before applying oil paints to prevent the moulding paste from experiencing adverse effects such as peeling or cracking.

Moulding Paste

Light Molding Paste enables the creation of substantial layers without significant weight accumulation. When the objective is to expand paint coverage without compromising transparency or specifically to enhance opacity, the addition of Molding Paste proves advantageous. While some products are marketed solely for enhancing paint opacity, Light Molding Paste serves this purpose equally well. It should be noted, however, that including such products may lead to a colour shift towards a lower chroma and possibly a lighter value. However, the outcome was satisfactory since the blue acrylic paint exhibited little to no fading. For the purpose of the experiment, a tube of blue acrylic paint, which I had readily available, was utilised. However, if deemed suitable, the possibility of employing a higher-quality acrylic paint with heavier pigmentation and consistency may have been considered. This alternative may aid in preserving the vibrant colour of the paint when combined with the moulding paste. However, the molding paste with acrylic paint did possess a slightly coarser texture than the fluffy consistency of the medium without acrylic paint. In addition to incorporating the acrylic with the light moulding paste, I conducted an experiment to apply the acrylic paint directly onto the surface of the light moulding paste. This method yielded satisfactory results, albeit with a heightened glossy appearance and a tactile sensation reminiscent of a plastic film. Therefore, if I had chosen to employ the moulding paste, the preferred method would have been to combine acrylic paint with the moulding paste rather than painting directly on top of the moulding paste. It is clear that the Light Molding Paste holds the highest peaks and retains the structure. It is also the best choice when building very thick applications (least weight buildup).

Marble Dust

The alternative approach involved using concentrated oil paint directly extracted from the tube and subsequently blended with marble dust. The effect displayed a pleasing quality, albeit with notably greater density compared to the light molding paste. To comply with the well-known principle of 'fat-over-lean' frequently applied in oil painting, it is essential to employ this substance as a textured surface before using oil paint over the top. Adherence to the fat-over-lean rule is vital when layering multiple coats of paint. This implies that the uppermost layers should contain a higher proportion of oil compared to the layers beneath.

Consequently, adding linseed oil to the paint while applying the top layers can effectively increase the oil content relative to the pigments in the underlying layers. The primary purpose of this practice is to enhance durability and minimise the occurrence of cracking. Therefore, similar to the approach with the light molding paste, when using this technique, it is a requirement to use the marble dust and oil paint medium before applying oil paint on top. Thus, the choice between these mediums primarily hinged on aesthetic considerations regarding the texture's appearance and which method it is believed would offer better preservation.

Oleo impasto medium

Michael Harding’s Oleo Impasto Medium is a gel made from fumed silica and linseed oil, the combination of which imparts great luminosity, particularly with transparent colours. Using the medium in varying amounts combined with neat oil paint achieves extra body. The scepticism of using this medium is that using an extender to oil paint often makes the paint more vulnerable. I was concerned that the heavy oil-based medium would sink, shrivel, and crack over time, particularly if used in large quantities. I had intended to use a large volume of medium to create a prominent texture whilst playing with depth to the surface, so I deemed this medium inappropriate for the desired effect. The result of my experimentation also demonstrated a very glossy gel-like consistency of low viscosity with high transparency. Still, the intention was to create a more fluffy and low-density appearance to simulate the appearance of the mask in the picture I had intended to paint. Furthermore, it induced surface deformation, prompting speculation regarding its susceptibility to wear under the influence of various elements, such as temperature and humidity.

After conducting a comprehensive series of experiments to discern an appropriate textured medium for seamless integration with oil paint, the discernment leaned decisively toward using marble dust. This preference stemmed from its notable compatibility with oil paint and its stability when subjected to overlay, rendering it the optimal medium for the desired effect. The thought process was not solely anchored in practical considerations but was substantiated by a substantial corpus of research affirming the commendable preservation and longevity properties intrinsic to combining marble dust and oil paint. This substantiates the selection, reinforcing the conviction that the chosen medium contributes significantly to the enduring quality of the resultant painting. The dualistic nature of applying paint over this textured medium introduces a nuanced dimension to the creative process. This duality is characterised by the interplay between the tactile granularity of the marble dust and the expressive strokes of paint, engendering a dynamic visual experience. The contrasting elements of texture and paint application synergise to create an intricate dance that elevates the aesthetic depth of the painting.

Constructing the Frame

To fabricate the frame, two pieces of wood were affixed together using adhesive and nails, resulting in the formation of an L-shaped structure reminiscent of the moulding typically employed for floater frames. Care was taken to ensure that the smaller piece of wood possessed a specific depth, enabling the painting panel to be seamlessly accommodated within the frame. After assembling four lengths of frame moulding, I cut them at an angle to form clean, seamless corners. Then, I used wood glue and dove joins to create the 90-degree edges securely. A considerably large wood knot expelled a substantial amount of wood sap on one side of the wood. Thus, excavating the knot to extract the sap before applying wood filler and sanding was necessary. After this step, any other uneven surfaces were also filled and sanded. Subsequently, a knotting solution was applied to preempt any potential sap leakage from knots that might seep through the paint layers, thereby averting the formation of stained areas. Following the complete drying of the knotting solution, I administered a layer of enamel spray primer, allowing a period exceeding 24 hours before implementing two successive layers of high-gloss red enamel spray paint.

Glass Bead Gel Experiments

In my exploration to create a textured surface for painting, another experiment was worth documenting: experimenting with glass bead gel. During my explorations in creating a textured surface, a pivotal concern arose: the challenge of maintaining a steady outline for the impending painted image. To address this, my ideas involved an initial drawing complemented by applying glass bead gel over the top before the application of paint. The concept was to allow the gel to dry, revealing a clear image underneath that would serve as a foundational layer for subsequent painting. However, my experimentation with Golden glass bead gel yielded an unforeseen obstacle – its glossy surface proved too slick for optimal adherence of oil paint. Subsequently, attempts to remedy this by combining glass beads with a matte acrylic gel also proved futile, as the resultant surface lacked the desired porosity for practical oil paint application. The intended outcome materialised as the glass bead gel successfully facilitated the visibility of the underlying drawing by applying glass beads. Still, the surface was unsuitable for the application of oil paint.

However, this yielded an intriguing avenue of experimentation: coating glass beads over photographs. This avenue sought to investigate the transformative impact of glass beads on photographic images and the nuanced connotations they might generate. Despite deviating from my initial intentions, a surprising outcome unfolded – the glossy effect imparted by the glass bead gel introduced a glamorous allure to the images, irrespective of their potentially adverse content. This unexpected aesthetic resonance sparked a connection with the artistic lineage of Andy Warhol, particularly his renowned screen printing technique known as "diamond dust." Warhol's innovative incorporation of crushed glass into his prints, producing a shimmering effect, has become synonymous with opulence and glamour. The influence of "diamond dust" extended beyond Warhol, captivating artists such as Damien Hirst and Russel Young. Collectively, these artists navigated themes associated with the prevailing consumer culture of 20th-century America, embedding their works with socio-cultural commentary and reflective depth. While not aligning with the intended trajectory of my practice, the outcomes yielded by this experimentation proved quite interesting.