Posts Tagged ‘iridescent’

Blue Moon

Thursday, February 2nd, 2012

Blue Moon, watercolor painting by Amy Crook

Blue Moon by Amy Crook

I chose soft blue pen and ink to pair with a rich, deep blue background, and then added salt in two different ways for texture. The brightest stars are the now-familiar salt pools, and there’s a scattering of dimmer ones formed by salt sprinkled onto the damp watercolor paint and brushed off once it dried. It was still too stark for me, so I went and found my tiny dot-card sample of interference blue and added haloes of half-there light around each salt pool and the moon, too, which you can barely see in the above scan, and better down in the detail shots below.

Blue Moon, 7″x5″ salt, pen & ink, watercolor and iridescent watercolor on paper, nfs (sold).

Blue Moon, detail 1, by Amy Crook

Blue Moon, detail 1, by Amy Crook

Above you can see three of the salt pools up close and personal, light glinting off their facets and a faint shadow of the interference blue. Below, the shimmer’s caught the light and you can see the brushed haloes around each large object, as well as the little starbursts of texture in the background of the deep blue sky.

Blue Moon, detail 2, by Amy Crook

Blue Moon, detail 2, by Amy Crook

And of course I took a photo of it framed, once I had it all ready for the show. In the sunlight, the background looks less black, though it’s still velvety-matte against the shimmering, sparkling stars and moon.

Blue Moon, framed watercolor by Amy Crook

Blue Moon, framed watercolor by Amy Crook

Categories: Daily Art, Flowers, Trees and Landscapes, Series and Books
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Midnight Rain

Friday, October 7th, 2011

Midnight Rain, abstract art by Amy Crook

Midnight Rain by Amy Crook

This is a cool echo of the fiery copper from yesterday’s art. Although this is the same paint I used in Jellyfish Bloom, the bright aqua pigment sinks into the black paper, leaving a watery echo of peacock-iridescent shimmer floating on top.

The salt this time picked up some of the green from the pen I used, but it’s quite pale inside the opaque matrix of the crystals. They’re darker where the paint coats them, but everything about this piece came out subtle and ghostly. Appropriate for Halloween, I think.

Midnight Rain, 5″x5″ mixed media on paper.

Midnight Rain, detail, by Amy Crook

Midnight Rain, detail, by Amy Crook

When the sunlight hits this one, the iridescent paint goes purple on the paper in lovely contrast to the rich teal you see where it coats the salt crystals. From another angle, it looks more blue, as you can see below in the framed photo.

Midnight Rain, framed art by Amy Crook

Midnight Rain, framed, by Amy Crook

Categories: Abstract and Just Plain Weird, Daily Art, Series and Books
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Copper Midnight

Thursday, October 6th, 2011

Copper Midnight, art by Amy Crook

Copper Midnight by Amy Crook, $323

This is the first of a pair of pieces I made together using Arches Cover Black paper. I love that this velvety black paper is fade-proof, because it’s not dyed but instead turns black from a chemical reaction set off in the paper. It’s art with science! Not my science, but still.

I made salt circles with my trusty orange pen, which barely picked up at all into the opaque white crystals this time. Then I used metallic copper watercolor for the ripples around each little pool, and copper gel pen for the signature, making an eerie monochrome piece very appropriate for the Halloween season.

Copper Midnight, 5″x5″ mixed media on paper, $323, framed, with free shipping.

Below you can see how the iridescent paint catches the light and glows with shimmery copper.

Copper Midnight, detail 1, by Amy Crook

Copper Midnight, detail 1, by Amy Crook

Here you can see just one salt pool, with the copper coating the salt on one side and making it look like it’s almost made of some strange metallic crystal instead of mundane salt. I’ve always liked how each little ring of salt is its own tiny henge of sorts, big crystals rising up around the scattered few in the center.

Copper Midnight, detail 2, by Amy Crook

Copper Midnight, detail 2, by Amy Crook

When the sunlight isn’t hitting them, the places where the paint was thinnest almost sink completely back into the black paper like ghosts, though it seems to float above the paper where it’s thickest. You can see it in its frame, below, with my iPhone for scale.

Copper Midnight, framed art by Amy Crook

Copper Midnight, framed, by Amy Crook, $323

Categories: Abstract and Just Plain Weird, Daily Art, Series and Books
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Hibiscus Violet

Friday, August 12th, 2011

Hibiscus Violet, abstract art by Amy Crook

Hibiscus Violet, abstract art by Amy Crook, $99

Something about having painted the iridescent oils onto this watercolor postcard before gracing it with the hibiscus tea caused the tea to stop at a lovely violet mid-stage between the vibrant pink and soft blue of my other hibiscus pieces. I used salt to add some extra texture to the tea wash, but most of the texture comes from the peaks of dried oil paint.

This piece rides the edge of being busy, the harmonious color palette keeping it from being too random. I really like the way the paint shimmers in the light, but the areas of tea are a soft matte, which makes the paint seem to float above the background just a tiny bit.

Hibiscus Violet, 4″x6″ mixed media on watercolor postcard, $99, framed, with free shipping.

Here you can really see how the paint rises up from the page, and get a sense of the iridescent effect.

Hibiscus Violet, detail, by Amy Crook

Hibiscus Violet, detail, by Amy Crook

I’ve put it in a simple black frame, you can see how the colors change depending on the light.

Hibiscus Violet, framed art by Amy Crook

Hibiscus Violet, framed art by Amy Crook, $99

Categories: Abstract and Just Plain Weird, Daily Art
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Work in Progress: Dragon Skin

Monday, May 23rd, 2011

Dragon, commission in progress, by Amy Crook

Dragon, commission in progress, by Amy Crook

Just a little work in progress today, a teaser of the textured skin on Molly’s oil-painted dragon. It’s taken ages to get even this far, since I have to let the thick scales dry between painting sessions or I just smear them when I’m working elsewhere, and I still have his hoard, the details on the forest, and even his face to finish. Or is it a her, in the rich warm purples and blues? The paint I’m using is iridescent, which makes the whole dragon shine on the canvas, especially with the extra physical texture of the impasto.

Categories: Angels, Cthulhu, and Other Myths, Daily Art, Works In Progress
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