Touch up strategy is briefly covered here. I explore the paints I used to enhance the image: 20 year-old pigments. I also assess which paints I can use and which ones are dried up and unusable. The umbers and siennas are discussed here. Herein I describe the areas that were altered and enhanced. I ended up using acrylic paint exclusively to enhance the giclee when I had planned, imagined, that I would use oil exclusively to achieve this. What I disliked about acrylics, their fast drying time and chalky dried appearance, became unimportant, and embraced, as the process "forced me" to use them. When using acrylic medium to increase the flow and drying time, I realized that, as the acrylic areas dried onto the canvas, they became not chalky (flat looking) but actually glossy. And because the giclee print on canvas utilized digitally applied inks, the surface took on a matte-satin look. My glossy enhancements, therefore, stood out when dry. I didn't like this initially but had to accept and disregard it. The glossy sheen, although unavoidable, only became noticeable when the light hitting the canvas shifted (or my vantage point to the canvas changed). Originally posted to Youtube, published on May 28, 2016, I am seen sitting in the cab of the truck and reflect on the completion and delivery of "Girl with Axe" enhanced giclee. I then walk from the parking lot, artwork in hand, to "Gallery on the Square" in Wimberly, Texas. My emotions about the past heavily influence my thoughts and manner of delivery in this video. Looking back on this I feel that I should have lightened up, having taken the entire thing far too seriously. Here I stand outside the gallery, in Wimberly, Texas, that agreed to display my enhanced giclee, "Girl with Axe." This moment took place on May 28, 2016, as I share my thoughts. Originally posted to Youtube May 28, 2016, In this last installment, in the "Girl with Axe" series, I describe the aftermath and my parting thoughts, My original intent ultimately did not pan out the way I had imagined. Life can be this way, of course. But I was able to witness my own process unfolding through the documenting of this project. What I thought would be a straightforward plan of action, something simple, required a change of tactics--from very early on to even dealing with the gallery and that establishment's attitude. Suffice it to say, I ended up, a few months after this last video statement, taking my giclee back from the gallery as they had put it in a place that no one could easily view it. The project became, therefore, more about my own journey with enhancing a giclee and personally handling materials with a new situation than it did about selling the work. |
Chad GlassMy blog is a running commentary on storytelling conveyed through symbolism, fantastic realism, mystery, and beauty. ArchivesCategories |