I tried a new set of markers on a red-yellow background. I like the bold lines against the amorphous surroundings.
More experimentation with glazing today. I like the two different transparent yellows that I used for glazing (lemon and Sennelier yellow).Holbein’s peacock blue is a beautiful transparent blue I used to layer on top of the yellows and reds. I didn’t glaze with reds, as they were not transparent.
The point of today’s experiment was to play with glazing, or thin layers of transparent watercolors on top of the watercolors that had already dried. The colors become modified by the layers of paint through which the light must travel to get to the viewers’ eyes. I’m sure that the light reflected from this piece, […]
Today’s free form began as a pencil sketch. The colors are muted and variable because there are layers of pigments. At first, the colors were bold, some of them less so, depending the properties of the pigments themselves. For example, the earth tone pigments (warm sepia in particular) are subdued and absorb more light than […]
I tried some glazing techniques with this abstract.
My freeform began with a pencil drawing. Next, alcohol markers emphasized some of the lines and ignored others. Short, stabby curved lines from the markers, along the edges of adjacent shapes, imbued them with three dimensionality. The final step in my process was to wash the enclosed shapes with watercolors, to strengthen the illusion of […]
I applied transparent glazes over my original wash of color. I don’t remember my original underpainting and the layering is now so dense that I can’t properly make it out. I used some masking fluid to preserve some of the penultimate layer. Then my trusty dip pen did its duty in tracing some of the edges of […]
I continue the exploration of merging earth tones (particularly quinacridone nickel) with blues and purples in today’s watercolor. With subsequent layers of glazes, and some lifting of pigments, I created a piece that is layered across the two dimensions of the paper, as well as in the third dimension. The third dimension is built up with microscopically thin […]
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 […]
I used some of the same colors that I used yesterday: terra rosa, transparent red and yellow iron oxides. lemon yellow and cadmium red light. I added French ultramarine blue to the composition. One reason I like this particular blue, is its tendency to settle down into the valleys established by the grain of the […]