dulling down all that color
Tonight I popped "Thick as a Brick" by Jethro Tull into my computer/iTunes and worked on this guy for one full play of the CD. I did it because I wanted to hear the CD, but I also needed to limit my work time so that I don't overdo things with my right hand.
Holding a paint brush to apply the matte medium to the torn papers and smooth it on to the manikin's surface is less of a "tight/closed-hand" process than sewing is. (I'm saving sewing for Wednesday at Joan's.) (Epic sewing sessions seem to be what trigger the cramping in my hands.)
Okay -- so here are the photos from this work session that lasted 43:36 minutes.
This is the manikin with plaster cloth, tinted gesso, and four colors of alcohol ink dripped (instead of spritzed) onto it. And NOT the colors I had in mind, either.
I tear up little pieces of the white areas of tissue paper (that I have in abundance, and is on its way to the recycle bin) and lay them onto areas of the manikin that I have applied a thick coat of matte medium to.
I work in smallish areas at a time so that I can smooth out the paper as I go.
The matte medium tends to melt and smear the colors a little...but this is just the bottom layer.
Also -- using a paint brush in stead of my fingers this time is letting me work "wetter" than usual...less tearing of the paper with the brush.
And because I want the paper to dry with a sort of texture, I am not upset with not being able to get all of the wrinkles out. As I am working I go back and do more smoothing, but basically I am looking for the paper to give me a little bit of an appearance of fur or skin that will look just fine later on in the process. If I had only used my fingers (no brush) I would have been able to get the paper smoother.
Only the left side of the manikin has paper on it.
The back of the head and shoulders area -- a bit more dry -- and you can start to see through the paper again.
Just a shot to show the difference with and without the paper.