Jars in the Window ~ 5th Print Layer

The printing progresses on this new gum print. Today was the sixth print layer. I didn't post yesterday's print layer as it was the final CYMK color layer constructing what I refer to as the visual framework of the image. The work begins now in shaping the final image color(s). The straight forward CYMK layers tend to end up on the very cool side, as in steely blue/gray overall color, and that is mostly because of the stacking order I tend to employ; KMYC: black, magenta, yellow, cyan. Why of that. That is what I began asking myself on this sixth interpretation of the same scene. Each iteration is better than the last. Better detail, better color arrangements and much more natural light quality. What I am after is capturing the light in the scene. In printing, that means knowing the density relationship of the highlights of the image with the lower tonal range, and how to relate that to the print/float time relationship, respectively. Printing to the light.

As noted in the last post of this image, the image was made of the four basic print layers; a smidgen of black, first coat, followed by quinacridone magenta, then a ultra sheer Yellow layer, and finally the Cyan (Phthalo Blue) layer, which brought that orange(ish) color back to a cool(ish) color. Where I broke off from traditional additions of color layering, I've begun mixing colors to arrive at better color combinations that arrive at the optimal color effect for each image. The final two colors added to the image were a mixture of Red Permanent with a tiny amount of Yellow Ochre, for a soft orange, that neutralized the overall color scheme as well as add depth and detail to the image.  The final layer was a fairly sheer mix of Yellow Ochre, to keep the warmth of the scene as well as add some detail without obscuring it. The focal point of this print layer is the window pane, which is white, and which I want to remain at zone 7. The Yellow Ochre was the optimal choice for both tasks. What remains important apart from color combinations is capturing and holding the ambient light.

The final focus is outside the window. I've left those densities to be printed separately, each area with its own color mixture. Hooker's Green on the foliage, and, lightly on the window glass reflection of foliage, Cadmium Blue for the house siding, and black on the dripping tar on the roof, and broken pane area. Printing that area has to be a bit different from printing the interior with different densities and different lighting conditions. I have been able to accomplish in this print what it took twenty-one print layers to accomplish printing The Flute Player.

Sixth Print Layer
Jars in the Window