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.
It’s a Jungle Out There
16″x12″ 140# Cold Pressed Watercolor Block
This abstract rendering reminds me of trees or tall grass in the foreground hiding rare colorful forms of life.
I just came across your site and am very pleased I have. As a fellow painter its great to see the end result and read the process as well. Watercolor is very challenging a medium. I love the freedom with which you seem to paint, the colors and composition. It is challenging to create successful abstracts I think ~ much more so than realism.
Peta
Thank you so much, Petra! That is so nice to hear, and very kind of you to say. I read about the great artists (my biggest influences are Paul Klee, Kandinsky, Cezanne, Jawlensky and many others) and look at their work all the time. I’m trying to arrive at a principled approach to my art, as each of the above artists have done in their own way. But it often comes down to a movement of the brush, stepping back and seeing what it inspires.
Again, so glad you found my blog and took the time to comment. Very nice to meet you.
Best regards,
Jack