From failed ink experiment to velvety acrylic painting

This continues my interpretation of Nyx, the primordial Greek goddess of night. After drawing the initial concept digitally, I felt drawn to translate her story into traditional media, I wanted that tangible connection between paint and canvas that digital work couldn't quite get.

Every creative journey begins with an experiment, and this piece was no exception. I started with an experiment in surface preparation - a modified gesso mixture for watercolour and ink use. The recipe is simple: about 200ml regular gesso as a base, with 3 to 4 teaspoons of bicarbonate soda mixed into it.

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The canvas was prepared, but I wish it was slightly larger. I'm trying to use up my stash of what I already have.... and it was either this, or one that was 4ft tall. And because this image is inspired by a tarot card, I want it to be a little smaller, so that the amount of detail I put into it is limited by how small the brush can be.

After transferring the image onto the canvas using carbon paper, I started to paint. I used some old ink that I tried to revive by mixing it with water. It seemed to go on beautifully. The old ink was used because I loved the colour and hadn't realized I was out of it until I started to paint.

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As with many artistic endeavours, the initial plan needed adjustment. The special gesso I made didn't work to hold onto the ink at all. This could also have been because of the old ink but either way the result was the same. I needed to pivot and change my medium to acrylic paint.

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With the medium decided, the real work began. The guide lines were added again. These didn't need to be perfect as there will be many layers of glaze going over them. But I still wanted them to be as close to the final as I could get. So that when I put the final layer of dark line over everything, there won't be any kind of double line going on.

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First few layers of translucent colour were applied. I liked where I ended up at this point and I didn't want to stop painting. But it was getting dark and the cats needed to get fed so I had to stop.

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Next the focused was on building depth and atmosphere. I added what I think were the correct background values but I was finding it really hard to tell. This is because I need the darkest dark in the image to see if it is balanced.

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I'm not putting in black but instead using a colour called Payne's grey which is a really dark blue grey colour that is almost black. I want to use this so that the image is more interesting in the end. And black tends to make things more flat. But if I use this very dark blue, the foreground lines should look more lively.

There's something about the way the lines flow in the original tarot card that I'm trying to catch hold of. Not to copy it exactly, but to let that feeling emerge through the natural qualities of paint.

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Working with paints instead of inks for this is slow going. The brush just can't hold as much paint as ink, so the lines I'm making aren't as long and smooth as I'd like. But over all I love how velvety and rich the darks are looking. I think it will give the feeling of night and that cool enveloping darkness - that moment when Nyx herself might have first drawn her cloth across the sky.

Sometimes the most interesting pieces come from technical challenges and unexpected changes in direction. I hope you'll stay with me as this painting continues to evolve, as I work to capture both the power and the mystery of night's descent.

Best,
Olivia

Today's studio lesson: old ink and experimental gesso don't always play nice. Watched my careful linework dissolve into a wash of colour. Time to pivot to acrylics instead.

Laying down painted guidelines for Nix, the goddess of Night- not perfect, but they don't need to be. Each line will be built upon with layers of translucent colour, creating depth as I go. The beauty of working in layers is how forgiving it can be

First layers of translucent colour emerging. Building depth slowly, letting the darkness gather naturally. Nix the Goddess of Night slowly emerges.

Payne's grey instead of black creates living darkness. Each brushstroke building the velvety richness of night. This is Nix, the Goddess of Night.

illustration, magic, darkart, devinefeminine, mythology, fantasyart, witchcraft, gothicart, conceptart, folklore, occult, darkfantasyart