#13, egg tempera and graphite on hand toned paper, 15 x 15 in.
My understanding of the possibilities in this series of works based on sacred design keeps expanding. (To read about how I started this group of drawings, go to this blog post.) From a book on Sacred Geometry, I found that the pattern of six circles around one yielded a large hexagon; I'd been finding only smaller shapes before. In these works I've become very interested in the effects of transparency: since egg tempera is a translucent paint, it is easy to layer colors, showing the effects of one color atop another.
Because the ground color is such a strong blue, it shows through the light pink painted on top. I painted several layers until I was happy with the degree of translucence. I used cross hatched strokes for more control. After the pink, I painted the yellow triangle, and lastly the green.
#14, egg tempera and graphite on hand toned paper, 15 x 15 in.
The mood of this piece is very different from the one above, as small curved triangles surround a center. I had a hard time getting the color right on the dark shapes; originally the color––I was using caput mortuum––seemed too blue-gray.
After several layers of cadmium dark reds, the color was richer and closer to what I was after. You can see the sheen that results from the layering of the egg tempera, and see something of the texture of this rough handmade watercolor paper by Twinrocker. I chose to have the central shape translucent, so the foundation drawing shows through the paint. I love the contrast of surfaces, from the gelatin-toned paper, to the thick tempera, and then to the thinner paint.
#15, egg tempera and graphite on hand toned paper, 15 x 15 in.
I really enjoy toning the papers I will use, trying different colors and densities. Most of the papers are strongly saturated, so I thought I'd make one that was light and transparent. And with that, light shapes surrounding a somewhat darker center.
#16, egg tempera and graphite on hand toned paper, 15 x 15 in.
Smaller hexagons are found within the initial pattern. Here, again playing with the translucence of paint: blue over yellow, and yellow over blue, each yielding a triangle of different yet related colors. Working on this series continues to be a joy, as I discover shapes and patterns within the sacred design, and have freedom to revel in color.