I began with French ultramarine, one of the pigments I used in yesterday’s composition. Ultimately, these two brushstrokes were overlaid with ultramarine violet, another grainy pigment, and relegated to minor figures at the center-left of the study. I painted the upper part of the paper with ultramarine violet and, after drying, rewet the area with red iron oxide to the extent that it dripped to the bottom.
I used lemon yellow to carefully wash the areas between the drips and then covered them with a combination of Payne’s grey and Ivory black.
This abstract rendering reminds me of trees or tall grass in the foreground hiding rare colorful forms of life.