Today’s watercolor experiment:
I used the last drip of liquid latex on today’s composition. After dripping, I shook, tilted and jarred the paper without regard to design.
Next, I splattered the same pigments I used yesterday: opera rose, cobalt turquoise and lemon yellow. I wanted to see how the wet drops would combine.
For the next stage, I mixed pairs of the primary palette to obtain the secondary colors, orange and purple. I painted them over the latex resist pattern. Here, the composition takes on a cross hatched look.
I intended to lay in some muted tones in the corners, so I chose Moonglow, (a Daniel Smith pigment consisting of viridian (PG18), ultramarine blue (PB29) and anthraquinold red (PR177)). I was surprised to find that this pigment matches the combination of cobalt turquoise and opera rose.
The serrated edges at the bottom left inspired the next step. Looking at them, I got the impression of sound, the grooves of a record (vinyl is an equivalent term in use today I believe, for those not familiar with 1930s through 1980s recording terminology). I painted raw umber between the Moonglow corners, making striations that imitated the spaces in the lower right hand corner of the composition.
Below, I darkened the corners with Payne’s gray to increase contrast.
The final step of my process was to remove the latex resist:
It is a bit jarring to remove the masking material. Prior to this stage, the dried latex is equivalent to the watercolor paper; the pigments color the latex and the paper in equal measure. As such, the latex camouflages the negative space beneath.
I leave the composition at this stage. I don’t know if the white space fits with the surrounding colors. I need some time (and Photoshop) to imagine whether any modifications of these irregular spaces could improve this study.
I applied the latex first and removed it last. Although my bottle is empty, I am not done with masking fluid and the negative spaces it covers.