In the end, I elected to spread some iridescent steel around to try to create some movement...
Although I still need to work on this new technique of late, this portrait is more visceral than the first one... so maybe I'm on to something... a new discontinuity in my art!
Note: Iridescent pearl would be interesting to try in the hair and facial area for the full completion of this exercise and the sake of uniformity in different lighting conditions...
Although I don't want to make iridescence the cornerstone of my art, I'm curious to explore limits and possibilities with this avenue. In light of my "half failure" with this experiment, I see potential in using iridescence alla prima, like I just did with this 2nd layer or using it in the underpainting... but leveraging it. For the latter option, my usual method of painting with multiple transparent layers would be more appropriate. I realize there is no point using an iridescent underpainting if it's going to be obliterated for the most part by an opaque layer...
Note to self: "This new approach using a darker underpainting is giving me more freedom in that I can settle for much fewer layers and be able to live with results that are more expressive, more me! I can also vary grounds to my liking going for more drama or naturalism depending on the subject matter..."
To retain as much iridescence as possible, I ended up mixing my darks with stainless steel using it as a neutral color.
... Camille Claudel (Rodin's muse for a number of years) seemed to be top of mind! I'm not sure how I will handle this though... I'd like to maximize the copper...
... the red copper, although only applied in specific areas tints everything in this camera shot...
The first photo is without a flash (I tried to show as many color nuances as possible as they vary with reflections and lighting). The second one is meant to show the iridescent pearl (reflections from buckling are artifacts). I used transparent glazes to attenuate iridescence in the background area and to avoid competition with the main subject. I think I'm off to the races with this technique... and I see definite potential for my "macha" series.
I'm still dabbling in pool water design, focusing on the "mind like water" state of mind. One more pass and I think I'll get what I want... sort of!
Although I still need to work on this new technique of late, this portrait is more visceral than the first one... so maybe I'm on to something... a new discontinuity in my art!
Although I don't want to make iridescence the cornerstone of my art, I'm curious to explore limits and possibilities with this avenue. In light of my "half failure" with this experiment, I see potential in using iridescence alla prima, like I just did with this 2nd layer or using it in the underpainting... but leveraging it. For the latter option, my usual method of painting with multiple transparent layers would be more appropriate. I realize there is no point using an iridescent underpainting if it's going to be obliterated for the most part by an opaque layer...
I tried iridescent copper and steel in the underpainting. The copper was smothered in paste and azo gold, so I lost the iridescence: I was too timid to use unadulterated copper! Moreover, I put streaks of steel in my dark background, only to find out that this generated way too much reflection for my liking! Needless to say, I'll have to revert back to my old ways to complete this painting. As for iridescence, if this first attempt was not too brilliant (pun intended), there is always the next time... to shine... and rise to the occasion!
... with this water scene, a manner of speaking. I had to find a solution quickly since I can tread water for only so long! This painting is just for my personal pleasure... makes me feel good!
