, for the extensive reply. It's almost a tutorial on "How to Paint."
The "general" information you provide is in line with the general
conclusions I continue to draw from my own experiences. I was hoping for more specifics, but as you point out, there are a lot of variables.
As you may have read in other threads, I find it impossible to employ isolation layers throughout the painting process. You suggest applying a single
isolation layer near the end
, just before glazing. That might help, but I glaze and employ various techniques throughout
the painting process, making it necessary to apply full and partial isolation layers fairly frequently.
a) I complete Paint Layer 1, which involves slightly varying sheen levels depending on paint colors used.
b) I apply Isolation Layer 1 atop Paint Layer 1 in the form of Fast Medium/Fixer thinned with water. This does indeed make the underlying paint impervious to water contained in the next paint layer. And in the process, all the underlying paint color is intensified in terms of Hue and Value (similar to applying gloss varnish).
c) Now I'm in Big Trouble with regard to mixing any further colors. When I paint them atop that isolation layer, the new colors have not yet been intensified the way the underlying colors have. The Hue and Value of this new paint layer are effectively "muted" relative to the intensified underlying paint. Under these conditions, I find it impossible to mix colors that accurately relate to the existing/underlying colors.
As you suggest, employing just one
isolation coat at the end--just prior to glazing--could reduce the difficulties, but the problem remains. Any glazes applied atop that iso layer will be just as inaccurate as the description in item "c" above. And perhaps more so, because the Glazing Medium
is MILKY WHITE until it dries. Honestly, that makes no sense
The milky medium effectively tints
the paint mixture, making it doubly impossible to judge the color
or the level of transparency
in relation to underlying colors. And to complicate matters even more, the tinted aspect of the color mixture disappears
once the glaze dries.
I hope you'll send Jim Cobb a link to this post, and suggest he switch to a CLEAR Glazing Medium (and consider sending me a check
It's funny (not) that the only clear
medium I have is your Slow Medium
, so I've been mixing that
with my paints for just about every purpose/application. OF COURSE, it turns out to be the most
re-wettable, causing my paints to be more
interactive. Murphy's Law never rests...
I'm sure Chroma Atelier Interactive paints work beautifully for many painters, and they might work well for me
I change my methods. But for now my "unusual techniques" are not well suited to the unique (and very cool)
water re-wettable feature.
I'm attempting to sell my new/unopened palette set of colors HERE
If I'm not able to find a buyer, I would like to mix them with STANDARD
ACRYLICS (maybe Jo Sonja Artist Colors) to:
1) increase opacity, and
2) render them non-interactive.
Please advise as to whether that will work, and how much
standard acrylic paint is necessary to render the Chroma Interactives
As always, I appreciate the help.