A huge and joyous contrast of painting experience to yesterday! Awake since about 1am and hardly any sleep, yet the first hour of glazing was almost miraculous, I loved the experience and felt in complete command of the colours and process. How these strange contrasts emerge. I must remember that the glaze should, or at least can happily, appear too intense; but that at the end, that intensity will seem to magically fade away once the entire surface is glazed. Also, that the colour and a compliment (not necessarily an exact compliment, any other hue) should be around to dart between the two at whim, including the raw tube colours.
Occasional highlights in an opposite hue are the key to local drama. I listened to Jean-Michel Jarre's 'Rarities' from his album Essentials & Rarities and noticed a link between these shocks of colour and minor-chord dramatic hits with filter-sweeping sounds.
Here is my updated double-dipper, complete with watch-glass. Already a useful item:
In the night I designed a new jig for my router. I had designed one with two tracks of wood on which the router can slide, but in the night thought it was more efficient to keep the router stationary and slide the wood. This will need lots of little wheels, like drawer wheels, to guide the wood and help it slide, plus some springs to gently hold one train of wheels against the wood (the other is locked into the correct place). The whole thing will only be about 250x500mm, and could support other tools (jigsaw?) for other work on these long lengths.
I'm in the mood to do a lot and make a lot. I'd like to publish all of my remaining old games later in the year, and complete the sheet music to the last three vocal albums, then I can start to work on the electronic instrumental albums.
For now, I can celebrate the signing and end of 'Can There Be A Refuge From The Terror?'. Some of yesterday's elements, the sky, the central eye, were brightened up today, to good effect. It's now certainly better than when merely underpainted.
