There. That's it! I cleaned up some blotches and reinforced all the colors. This image is a good representation of the colors and saturation. If anything, the painting is actually a bit more intense.
Wow. Suddenly, it's a lot hotter and more intense. The saturation is more balanced so all the colours are striving with each other a little more equally, and it gives the pattern a real visual 'buzz'.
I was torn for a few minutes whether I preferred the lighter, russet-dominated stage before or this new version. Before the extra colour went on, there was more emphasis on the diagonal 'net' of the brown. But the latest is growing on me ... the richer gold and the textural contrast between those smooth, almost 3-D shaded russets and the sugarlump finish of the blue. Yum. Hard to see anything as background/foreground. It is more balanced and there is more to see in the relationship between the colours and the pattern.
They are great colours. What did you mix for the brown? It has more ochre in it now? I think you've gone past Celtic with that magical fractured-rock-face blue.
As they say in the UK, an absolutely stonking design, and beautifully executed.
Oh! and thanks for describing the blue texture. Interesting that it's on hot-pressed paper. Based on your experience and Gretchen's recommendations I will dabble (literally) with some more watercolour ranges.
The brown in the grid lines is W&N Burnt Umber watercolor. (I'd first lined the pattern with waterproof sepia ink.) I used the umber in different ways--sometimes dry brushed and then pulled out a bit with washes, and sometimes dropped in wet in wet.
Also did some lifting here and there, especially where the umber spread more than I wished. (I am slowly learning the find points of paper in the just right state of wetness.)
I've been fond of Neilsen-Bainbridge photo frames for my graphite stuff so I think I'll use an 11x14" with a 5" mat. The painting is 12 cm sq. I have white mats here and will probably go with that for now but perhaps a colored mat would be more appropriate.
Just got off the webinar. Went fine and I'll blog it out soon.
Thanks, Gretchen! :-) Now begins the head scratching over what will be my next subject. I'm going to go out on the deck and sit in the sun and pore over Bain and Meehan, looking for a nice zoomorphic.
Wow. Suddenly, it's a lot hotter and more intense. The saturation is more balanced so all the colours are striving with each other a little more equally, and it gives the pattern a real visual 'buzz'.
ReplyDeleteI was torn for a few minutes whether I preferred the lighter, russet-dominated stage before or this new version. Before the extra colour went on, there was more emphasis on the diagonal 'net' of the brown. But the latest is growing on me ... the richer gold and the textural contrast between those smooth, almost 3-D shaded russets and the sugarlump finish of the blue. Yum. Hard to see anything as background/foreground. It is more balanced and there is more to see in the relationship between the colours and the pattern.
They are great colours. What did you mix for the brown? It has more ochre in it now? I think you've gone past Celtic with that magical fractured-rock-face blue.
As they say in the UK, an absolutely stonking design, and beautifully executed.
What are you going to do with it?
How did the Cornell event go?
Oh! and thanks for describing the blue texture. Interesting that it's on hot-pressed paper. Based on your experience and Gretchen's recommendations I will dabble (literally) with some more watercolour ranges.
ReplyDeleteStonking, eh? I love it! :-)
ReplyDeleteThe brown in the grid lines is W&N Burnt Umber watercolor. (I'd first lined the pattern with waterproof sepia ink.) I used the umber in different ways--sometimes dry brushed and then pulled out a bit with washes, and sometimes dropped in wet in wet.
Also did some lifting here and there, especially where the umber spread more than I wished. (I am slowly learning the find points of paper in the just right state of wetness.)
I've been fond of Neilsen-Bainbridge photo frames for my graphite stuff so I think I'll use an 11x14" with a 5" mat. The painting is 12 cm sq. I have white mats here and will probably go with that for now but perhaps a colored mat would be more appropriate.
Just got off the webinar. Went fine and I'll blog it out soon.
Beautiful! It literally shimmers!
ReplyDelete(I agree- "stonking"- too funny!)
~gretchen
Thanks, Gretchen! :-) Now begins the head scratching over what will be my next subject. I'm going to go out on the deck and sit in the sun and pore over Bain and Meehan, looking for a nice zoomorphic.
ReplyDelete