Blacklight Color part 2

Fluorescence effect under UV light

In this situation I was forced to develop the “double vision”. A first done in acrylic and a second with the bright colors on top. Two pictures in one. An acrylic painting with its own play of light and shadow, which awakens when the front, first one above, has fallen asleep in the dark (UV light is switched off).

Walls realized in this way looked interesting even in normal lighting conditions. It was more work, but it also became possible to present them in “daylight” with usual room lighting. The motifs can now be viewed as a special highlight during the day and at night. Once mastered, UV painting has become my favorite technique.

The first image is executed in acrylic and is visible under normal light. The other painted with fluorescent paint It acquires special depth under the influence of UV light (“black light”). It is a tinkering job, enriching with UV colors a part of the background image that was previously done with acrylic paint. Particular care should be taken to ensure that the images are superimposed to form two congruent contours in one motif, which preserves the sharpness of the image. The painting even becomes unsightly due to blurry, unsharp and juxtaposed contours. To avoid this, I covered sharp-edged objects with masks: with self-adhesive foil or Tesa crepe tape (there are different qualities of these that can be used for curves or straight lines. Here, too, it is advantageous to use the To make sample before use in the later picture.)
With practice, I became more and more adept at playing all the tricks I found, and this amazing technique continued to expand.

If the painted picture is several square meters, it is extremely important to hang a mobile UV light near the picture. In the completely dark rooms of the discos, the many UV tubes illuminate the image plane evenly, even from a distance of several meters. At a distance of more than five meters, the luminous effect decreases significantly. The image “fires” right next to the UV lamp and the further away, the more the luminosity is lost. UV lighting up close saves the painter paint, and UV lighting far from the image encourages “expensive wastefulness”. If I had technical support while painting with UV paints, a huge spotlight (construction spotlight) is aimed at the walls. This illuminated the wall from afar, illuminating it evenly so it was easier to paint.

Human teeth look creamy yellow in UV light, making any visitor appear ghostly. Fragments of clothing and even the fibers in fabrics gleam strangely, often indicative of dirt and sweat stains. In these interiors, even the most beautiful ladies lost their personal charm.

If the lighting had not yet been installed, I often worked without UV light, and not because of the unsightly dam (malice on the part of the client on the large construction site), but for sheer convenience.
I saved myself the trouble of running a long cable as it would be unplugged all the time. In the meantime I was able to anticipate the results of the multi-layered painting in my mind and almost finish the work even without a “preview picture”. For fine tuning towards the end, I only do small additional adjustment corrections with the glow effect lamp.
It’s really amazing how brilliantly the UV images shine. Black light gives the space an eerie weirdness and enlivens the painting like a hologram in complete darkness. Living walls surrounding the viewer begin to pulse with the UV light, animating the space.
The “blinded” observer moves between illusionary levels in space that seems to lose its physical properties. It’s like a little dream where we’re not sure what’s real anymore. Our sense of reality is being eroded. An opening to new adventures. The permanent surprise, the groping wandering over the walls scanned by the eye puts inexperienced people into a trance.
The task of illusion painting with fluorescence effects is above all to increase the size effect of the furnishings of spacious rooms in order to expand their limited areas and create additional depths, heights, almost infinity. The feeling of playing – the feeling of being without limitations of the imagination, a certain dreamed-of comfort that lets you forget everyday life, a “sublime being” that everyone wants to experience temporarily.
The observer focuses his attention on distant places that appear to be outside the walls of the building and even beyond the horizon line.
To achieve this purpose one uses many different perspectives on large areas and places many points of convergence in the planning area of ​​the image. Although wandering with the dreamy gaze through different perspectives evokes in us the joy of adding our own imagination to what we see, the unstoppable self-found connection between the frog and the bird perspective creates an independent story through the sequence of the objects viewed Gear. The ring of one’s own experience in a repetitive circular movement of the gaze over the motif. The impression of things hanging freely in space, seemingly tangible, protruding from the picture is created.

When the artist has met the task of mapping three-dimensional objects in only one plane, he is often helpless in the realization in the corners of high rooms. Because instead of a simple flat wall, he is confronted with the distortion of two planes standing at an angle to each other, which are supposed to appear from a distance as a uniform surface. The deformation of the painted motif increases as the viewer approaches the wall.
Very often I also painted a night sky on the ceiling, which also created a “tumbling” in infinity and depth, the experience of surreal body movements in a perceived infinity.
I will show you the pictures of interiors in the article. The photos are steps in the development up to today’s quality and were often created from digitized slides. However, it is no longer possible to photograph them with current techniques because most of the localities no longer exist or have been painted over by another decorator many years later.

reminder of something important

In conclusion, I would like to remind you of a few unusual properties of UV inks that affect the style of work.
Fluorescence Effect Colors Under UV Light:

  • These shine more brightly on a white background and we can mix them with other colors (diluted artists’ acrylic).
  • In the case of very radiant picture fragments, we can always reduce the brightness of the color by spraying acrylic or UV protective varnish in the finest “mist” layers onto the finished picture. This will significantly reduce the luminosity.
  • And how do I varnish such paintings?
    Quite simply, with a paint roller/roller and “clear coat”. But be very careful because too much varnish can cause unintended black spots in the middle of the image.
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