I have a little time to write, here, but am not entirely sure of how much use I’ll be.
Yesterday, my godmother came over for a visit, so most of my waking hours were spent with her and M. I did manage to get in some time to play with colors, but I ended up toying with the acrylic inks instead of dealing with jumping directly back into the watercolors. (It’s probably because of the packaging, I’m not even kidding: the FW inks kind of beg to be used in those little glass bottles.)
I have done a bit of an experiment, here, though, with the photography. I took a bunch of pictures of my work (most of which isn’t up here, because all it is, is my practicing Japanese writing [mostly, the same sentence] in multiple colors and nib sizes), and realized today on upload that I used the wrong lighting setting. I should have used the “Tungsten” setting instead of the “Fluorescent” setting, as the latter leaves a lot of cleanup work. The former blues everything out, but it doesn’t leave a heavy orange cast over everything like the “Fluorescent” setting does.
Anyhow…I did the above play last night and was curious about what it would look like under daylight today, so I took a second set of photos. Both of the photos above have had Levels adjustments applied to them in Photoshop, though surprisingly, the night photo appears a bit clearer in relation to color. Maybe it’s because I didn’t take the daylight photo under full daylight?
In any case, these are FW acrylic inks, as mentioned above. I started out playing with “Rowney Blue” (PB15) + “Yellow Ochre” (PBk7/PY1:1), then — if my memory is correct — expanded to “Dark Green” (PG36) plus “Brilliant Yellow” (PY3/PY83). There is probably a definite reason to use Brilliant Yellow over Yellow Ochre, given that the former is a slightly more brilliant hue than the latter, and that I’ve read that PY1:1 is to be avoided, as it’s apparently fugitive.
But anyway, I was curious as to what would turn out if I started blending colors which were not adjacent on the color wheel. Rowney Blue is the nearest FW ink I have to Cyan (though they do make a Process Cyan color) — that is, all the other ones are either more green, or less saturated. What I did find interesting is how quickly the blue ink tinted to deep green on contact with the Yellow Ochre ink. I’m not used to a yellow reacting so quickly, visibly and strongly with a blue. My gradation in this respect is found in the marks which appear to look like a tail, in the above photos.
I also did find with these, though, that if you want a stronger green, you may have to pull in a different pigment. This is why I started using Dark Green, as I could make some nice greens with the former colors, but they were slightly grayed out. Dark Green added some vividness, and along with Brilliant Yellow, made some really high-key greens that are visible above the “tail” section, above.
I did find, though, that like acrylic paints, these things dry extremely quickly; and so if you want to get color bleeds like you can in watercolors, you have a very limited time frame (seconds) to do so, before the first layer sets (at top left in the photos, I was moving too slowly).
It’s surprising to me that I was able to get such nice greens out of these colors. Usually when I think about colors like Hansa Yellow Deep, I don’t think of making excellent greens with them. To my eye, the yellow leans towards orange; however, maybe my eye is a bit off? and orange-leaning yellows can make saturated greens.
Anyhow, got to go…