AP Art--Tempera Resist Painting

1. Reference photo

process shots:

Initial Stages of applying Tempera Paint

After applying ink 

After Embellishing (Final piece) 

Reflection

Problem Solving: Throughout my process with tempera resist, I had many instances where I had to problem solve. Some of them were when painting, I had to figure out how to not necessarily use black paint, but instead, variate the concentration of white in certain areas to allow the ink to come out in some places more than others. I also had to problem solve when while washing the ink, a lot of the tempera paint had washed away from the top of the Buddha as well. I decided I wanted to embellish more heavily on the Buddha while still keeping the integrity and characteristic of a tempera painting. 

Manipulation of Material: Through my experiences with problem-solving, I found out how I could control the thickness of the white pigment so that the black ink shows more strongly in some areas than others. I also variated my brush strokes to create a long movement where needed, and short, concentrated strokes when giving a "painted look" on the Buddha's face. I tried balancing the tempera, my embellishing, and the ink in such a way that this could be classified as a tempera resist, but that it also has the warmth of paint on top.