* This is the documentation I just made for a "first treatment" I just did on a new painting in what is to be an ongoing series called "WHITE POINT". Digital images forthcoming. Stay tuned.
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Time: Sat Jul 04 19:40:14 2015
Experiment: WHITE POINT PROJECT TRUE FIRST PHASE 001
Statement of Purpose: This experiment is an experiment in the human sensory perception of the dynamic subtleties of all manners of off-white paint colors. Essentially, the idea is to trick the human eye. We do this by using colors that are infinitesimally "off-white", i.e. infinitesimally "close" to pure titanium white. It is part of a project called WHITE POINT which was inspired by a close friend and retired printer M.J. from Brooklyn, when he began teaching me the intricacies of modern color theory. He is also one of the founders and chief researchers for the Nemetics project.
Procedure: The procedure so far is very simple: I merely "primed" my canvas with a color that was a mixture of roughly 95% titanium white and 5% what might be called "canary yellow". (In this case it was cheap acrylic paint without standard pigment metadata, it was called just "bright yellow". The canvas had already been primed with three coats of Gesso (white). I added the first coat of infinitesimally off-white banana yellow, mostly white, with only a pinch of yellow. Now it is drying. I am waiting to see what comes next. The way I work is I go by "treatments" and this coat of paint is the first official "treatment" (in what I call process-painting or procedural painting.)
Notes: Like all of my other Projects, the White Point Project is an open-ended series, what I call an "ongoing series". It will contain a collection of paintings that will go on over the course of a few years. The collections of images will also have digital counterparts, digital images and ambient experimental sound designs. I will also be writing a great deal of stuff, from poetry to novelistic writings, liner notes, further documentation and so forth. This is the first official SERIOUS work in the White Point Project. Now I wait for the paint to dry.
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* More treatments to the first official painting in the WHITE POINT series. Documentation made via Python script.
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Time: Sat Jul 04 22:34:38 2015
Experiment: WHITE POINT PROJECT FIRST PHASE SECOND TREATMENT - CONTINUOUS YELLOWING OF CANVAS
Statement of Purpose: For the second treatment for the first White Point Painting, I wanted to take the yellowing a little further than I did in the first step,immediately prior to this one. The goal is to go step by step and to be very disciplined and strict about following the time-tested Algorithm. I will need to do several dozen "treatments" or "layers" if you will, before I really start talking business with this painting and also with this current first series in the White Point Project. The idea right now though is to just give the painting a little "character", that is, to give the CANVAS some "personality". Priming is one thing, it's just your base coat, or baseline. It's the foundation, in this case it was standard Gesso verging on titanium white. That gives me my luminosity and brilliance, for starters. The current treatments/layers/coats, though, are meant to DISTRESS THE CANVAS. Let's proceed.
Procedure: The firstmost procedure in this step was to add some "canary yellow" or "bright yellow" (really just a variant of Cadmium yellow) with a LARGE BRUSH (medium-large, depending on what you consider large or not), using a DRY-BRUSH TECHNIQUE. I did some dry brush slowly across the entire surface, and then continued until the acrylic paint was well "imbued" into the surface. I used a very small amount of paint, just enough to say that I actually used paint and not just thin air, but no more than that. I then began to scratch the surface with a large palette knife (medium, depending on what you consider a large palette knife). I went at it with the palette knife, going very fast at times and then slower at times, varying the pressure. I got all "artsy" about it, like I was a sword-fighter fighting pirates with a rapier. Now I am letting it dry and METICULOUSLY INSPECTING the surface to see how the paint sets, how it dries, what other CHARACTERISTICS/TRAITS/QUALIA/EFFECTS might show up in the process.
Notes: This was a good second treatment. It was a two-part treatment, consisting of a) DRY-BRUSH and then b) WORK WITH THE PALETTE KNIFE. The color applied was a variant of Cadmium yellow, cheap acrylic with not much pigment. I like this cheap acrylic paint with very little real pigment - compared to professional quality acrylics - because it is nice and watery/fluid AND the fact that it has substantially less pigment is actually a BLESSING. It means that the paint doesn't actually do a very good job of COVERING THE SURFACE. I mean it works just fine for most purposes, but I like to add water to it to make it more of the consistency that you'd use for a WASH, say, or SPLATTER (a little bit less than what you'd use to wash and spatter, but still much more watery than usual, i.e. closer to watercolor than standard acrylic). Hey, to each his own taste, right?
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