Artists Like Turner or Da Vinci tint and flavor their lights to make them feel white without being white. In 1660 as Newton holds his prism to a pinhole of light he watches it subdivide into a rainbow of color. He notices that the beam of white light is composed of all the colors of visible light which he divides into seven discrete categories. He tries subdividing a single band of one of these colors again. It won’t subdivide into another color. The accumulation of all visible wave lengths create white light. The absence of visible light waves gives us black. Artists’ pigments work almost in reverse order.
In process printing we use black, magenta, cyan, and a process yellow to generate all the colors your printer, book or magazine require. The three colors are translucents which make them useful in color mixing. Overlay cyan and yellow to get a green. Light is generated by the thinness of the color and the reflection of the brighter (usually white) substrate below. The effect of light is not white but, tinted light. When no ink is printed we see white. I use this principle of creating light through thin translucent overlapping colors in my following examples. I am not using paint. I am using oil based printing inks . I use only three colors and, unlike your printer I am not using black. I generate black by blending the three translucent colors together.
The examples begin with a photo of Rome’s Coliseum manipulated in the camera and again in Photo Elements. I compressed the Roman Coliseum to fit within a square format then vertically stretched it. I did this to both a morning photo and night photo as you see in examples 1 and 2.
In examples three and four you see the result of layering three successive colors of translucent oil inks. First was yellow deep. Second was a translucent cobalt blue, and third was Solferino violet. I was using Charbonnel etching inks. I apply the inks with rubber rollers. Example 3 shows the image in process . The inks have been applied to a 36×36 3mm sheet of brushed silver anodized aluminum. There is no white substrate instead, the brushed silver surface will appear white-like but more brilliant because it is more reflective which makes all the translucent colors to appear intense as if light were traveling through stained glass window. Example 4 reveals the final stage of the image.
To help you visualize the application of the translucent oil inks onto the surface I have prepared the following examples. Again, I begin with a photo of a scene. This time I use Grand Central Station as the Subject. The photo in the example ( example 5) is the result of layering and blurring the same photo over itself. Example 6 shows you how I selectively layered ( rolled) the yellow ink first so that it lies below the other inks and will be revealed when I go to delete or blend overlaying colors. Example 7 shows how applied the next violet layer over the yellow and example 8 presents the final blue layer. Example nine demonstrates how I begin to blend and remove the inks using large stiff squeegees. I manipulate the ink with my fingers as well. In the last example( example 10) you see the image after I applied opaque white ink to the blue inked areas. I roll in the white ink after blending it with blue ink. The ratio of white to blue is variable which affects the pastel lightness of the blues.