Oil on canvas, 7″ x 5″
A moonlit forest with fireflies.
I painted over this a few times with different paints and I don’t remember everything that I used, but I know the white is zinc white (PW4, Daniel Smith), there was a greenish black mix I made with ultramarine, transparent yellow medium (PY128, Rembrandt), and I think quinacridone magenta (PR122, Daniel Smith), and some atrament black (PBk31, Mussini). There may have also been some viridian (PG18, Williamsburg) from a sample tube I have. The fireflies are dots of nickel titanate yellow (PY53, Daniel Smith).
There’s a little bit of glare from the camera, which kind of obscures the fireflies a little.
Oil on canvas, 5″ x 7″
Another experiment, this time with painting a night scene. I don’t remember all of the paints that I used, but this is the result of having various new paints on my palette that I was mixing to see how they would look and then wanting to use them on a painting so they wouldn’t be wasted. I mixed them all together into one blue color. I think it was mostly ultramarine violet and viridian, both from M Graham.
When I scanned this I did another experiment because with so much dark paint the light from the scanner was reflecting off every thread in the canvas it was hard to see the painting.
On the left is the original scan after the size was reduced. You can barely see the painting through all the glare. In the middle I flipped the painting upside down and scanned it again. It looks about the same, but the glare was on the other side of each thread. I then aligned the two scans, each on a separate layer, and set the top layer to 50% opacity. Lastly, in the right image, I made a new levels adjustment layer above both of those to adjust the light levels. The glare disappeared, the details were preserved, and the colors closely match the real painting, so it was a complete success.