Tag Archives: colors

The Journal of Dreams 03/15/2010

Pigment (Green) Tool of the Painting (Chlorophyll)

Making pigment is often times a difficult task.  In drying berries and other live things, it is important to slowly dry them to preserve the color.  Grass makes for a brilliant green-yellow pigment and the reason for that is its Chlorophyll which is a magnificent component of plants in the way it interacts with light to create energy…the energy for life.  The green color of Chlorophyll stains (like the Tide detergent commercial where kids have grass stains on their knees), and is very difficult, if not impossible to remove.  This is a good thing for the making of pigment.

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Due to the staining properties and my abode being rented, I opted the purchasing of concentrated Chlorophyll in an easy to disperse dropper bottle.  I preferred the type not distilled by alcohol as that might effect the longevity or viability of the painting.  After much research, I chose a product called Chloro-Oxygen.  Remarkably enough this product can also be taken in water to provide healthy nutrients for the human body, just as plants!  My personal goal is to drink a glass every time I use it to create pigment.

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So, in order to capture the “pure” green and vibrant color of natural Chlorophyll, I drip one drop at a time into a small amount of clear acrylic polymer to produce light through dark green hues.  The resulting color is more vibrant that the expensive Golden colors I mainly use for the painting.  After I create the color, I slowly mix in a color, depending on what I want to achieve, such as a yellow or blue, or even white.  It is very exciting to watch what is essentially a mystery unfold.  There are times, of course where I am disappointed and those colors I turn into browns.

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Chlorophyll (also chlorophyl) is a green pigment found in almost all plants, algae, and cyanobacteria. Its name is derived from the Greek words χλωρος, chloros (“green”) and φύλλον, phyllon (“leaf”). Chlorophyll is an extremely important biomolecule, critical in photosynthesis, which allows plants to obtain energy from light. Chlorophyll absorbs light most strongly in the blue portion of the electromagnetic spectrum, followed by the red portion. However, it is a poor absorber of green and near-green portions of the spectrum, hence the green color of chlorophyll-containing tissues. Chlorophyll was first isolated by Joseph Bienaimé Caventou and Pierre Joseph Pelletier in 1817.

Chlorophyll is vital for photosynthesis, which allows plants to obtain energy from light.  Chlorophyll molecules are specifically arranged in and around photosystems that are embedded in the thylakoid membranes of chloroplasts. In these complexes, chlorophyll serves two primary functions. The function of the vast majority of chlorophyll (up to several hundred molecules per photosystem) is to absorb light and transfer that light energy by resonance energy transfer to a specific chlorophyll pair in the reaction center of the photosystems.

The two currently accepted photosystem units are Photosystem II and Photosystem I, which have their own distinct reaction center chlorophylls, named P680 and P700, respectively. These pigments are named after the wavelength (in nanometers) of their red-peak absorption maximum. The identity, function and spectral properties of the types of chlorophyll in each photosystem are distinct and determined by each other and the protein structure surrounding them. Once extracted from the protein into a solvent (such as acetone ormethanol), these chlorophyll pigments can be separated in a simple paper chromatography experiment and, based on the number of polar groups between chlorophyll a and chlorophyll b, will chemically separate out on the paper.

Chlorophyll is registered as a food additive (colorant), and its E number is E140. Chefs use chlorophyll to color a variety of foods and beverages green, such as pasta and absinthe. Chlorophyll is not soluble in water, and it is first mixed with a small quantity of vegetable oil to obtain the desired solution. Extracted liquid chlorophyll was considered to be unstable and always denatured until 1997, when Frank S. & Lisa Sagliano used freeze-drying of liquid chlorophyll at the University of Florida and stabilized it as a powder, preserving it for future use.

http://en.wikipedia.org/wiki/Chlorophyll

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The Journal of Dreams 01/24/2010

I was awake 24 hours trying to work and research the faces of the creatures connected to me since childhood.  I dreamt of them for a long, long time but never understood why.  Researching them and looking into their eyes, may help me to understand.  During my research time, I unburied my colored pencils knowing I would need them for the eyes of the creatures.  I sat sharpening hundreds of colored pencils getting them ready.  It’s been too long since I used them and I missed them.

What I have come up with so far is that the six wings of each creature will have multicoloured eyes representing every race and nationality.  There maybe eyes of every color of the rainbow-natural or not.  To relieve wasting paint, I think I will mix colors into colors until I get to “mud” which is a term used when mud color results from many colors mixed together.  It is a tragedy in painting unless you are looking for it.  In this case I will need the browns.

I also went to look at feathers today.  There are some magnificent feathers out there!  I was draw to the peacock of course but the eyes at the ends will clash with the humanistic eyes I am striving to create.  The fancy feathers also appealed to me, like the ones which sit on top of the head like a mohawk, but they would be difficult to place as they are meant to stand straight up.  I will look on Ebay for feather sellers and see what is there.

The Journal of Dreams 01/20/2010

The four wooden canvases are up and ready for the creation of God!  This is a dangerous project.  Since I live in an apartment, I really cannot hammer big nails in the walls to hold these wooden canvases so I had to be creative.  Each canvas is held in place be strips of silk tape and tacked to the wall.  Every few hours, the right top one works its way forward and I have to re-tack it.  I think it is a little warped.  Hopefully in adding the moisture of paint and re-tacking it often, the minute warp will resolve.  In the interim, I have to be extremely careful not to let it fall.  Due to the weight of it, it would cause damage to itself and/or the environment.

This area is what I have dreamed about my entire life and it is exciting to think about starting it.  The upper left canvas is the core of where God will be,  Originally he was going to cover 4 canvases in a circle of light but the wood-worker brought up a good point about drilling holes through the frames and the mismatch of light.  If holes are drilled through the frames in the amounts needed from 2mm-6mm, it would destroy the integrity of the canvas.  If I tried to expand light from one canvas to the other, there would be a line of no light where the frame is.  I made the core of light on the upper left-a circle taking up nearly the entire canvas.

I searched and searched for the sparkle I imagined for this section.  Glitter which encompasses all the colors of the rainbow, although the bible mentions an “emerald” rainbow around God, I do not believe it means green.  I believe the rainbow to be reds and oranges as noted in blogs I have written about the stones of The Revelation Painting-specifically The New City.  I am looking at 6 coats of the brightest white, followed by placement of the rainbow in reds and oranges around the throne.  The throne is also a problem.  What kind of throne?  I researched in google images for pictures of thrones and am undecided.

If the light is bright and brilliant, I may be able to make only pieces of the throne visible under shadows which block the light, like from the wings of The Four Living Creatures.  I thought this would be an easy section to paint, prehaps the easiest of the entire painting but am fast learning that it may be the most complicated scene!  I had problems with the candlesticks early on and now the throne.  From my mother’s description in her story of God, she said he was the “brightest light”.  About 10 years ago I contacted NASA for a custom-made light that would insult the eyes but not harm them.  I never heard back.

It seemed as though The New City would have been the finale’ of the painting but it now seems nearly every scene is a finale’ in itself.  If I can imagine it all together, I would see the attraction for the lights and movement in Scene II (including the Hemorrhage-the bleed), but now The Four Horsemen of Scene III has become very dramatic, and Babylon will sparkle prehaps more than the crushed stones of The New CIty!  It is a magnificent work of art.  I cannot wait to see it all together myself.  I just keep imagining myself standing before it, all put together for the first time.  The news cameras are there, so many people and I bust out crying.

The Journal of Dreams 01/19/2010

Worked a little on the pale horse and provided him with a coat of translucent green; a green wash-according to the Aramaic bible and the original translation from Jesus’ language.  I was going to paint a skeleton rider since the his name is death but quickly found he need more research and pre-sketching.  I put that section up for now.

I went back to the sky and highlighted it to match a little better in its transition from light to dark.  I began work on the Locust over six years ago.  It is difficult to work on them by hanging the canvas on the wall, I have to stand on a step stool and the detail of their faces is hard to focus on when your feet are not well grounded.  I will have to take it down for that work.

Thinking about what was originally named The Woman and the Beast which is actually Babylon, I decided to rename that scene to Babylon.  I had not thought much about this scene, had not really sketched it or measured it.  I have decided to use a form of art I used to use quite often for the making of Babylon.  I will have to work out some kinks.

I used to paint murals on the walls in apartments I lived in.  I spent a lot of time and money on those really beautiful works of art, then I would move and leave them behind.  The last few I painted took up the entire largest wall in the living rooms.  I had mastered them so that it had the illusion that you could walk into it.  Most were cities-big sparkling cities.

The windows were made from rhinestone which sparkled day and night.  They really added a lot to just sitting in the room.  I had found myself in the middle of watching television, starring into the city instead.  The most attractive rhinestone were the rich, dark colors of Emerald, Red, and the rich, dark golds.  Sometimes the corners of the rooms would transition to forest and work around the room.

Once the forest were done, I would place real trees in big, colorful pots in strategic places to make you feel as though you were sitting in a rainforest looking at the city in the distance.  That kind of art is good for the soul and leaves the imagination free.  If I had every gotten settled, I planned to have Macaws for my forest.  I fancied the Green Wing and Hyacinth.

That is the one thing about art.  If you dream it, you can create it.  I dreamt of a fantasy place that does not exist (as far as I know), and I created it as I envisioned it.  Art is wonderful for just that purpose.  Once I lived where the steps going upstairs were suspended on poles and through the steps I painted a huge, colorful, cartoon snake with big, playful eyes…he was great.

There are 3 murals on the walls of a critical care unit that I painted with nature sounds piped in.  That is a nice effect!  I painted them 7-8 years ago and now and then I call to see if they are still there.  It would be interesting to see how many people felt that those murals inspired their health and wellness in any way.  I once wanted to travel all over painting “healing” murals.  Maybe someday…