I love to connect shapes in a painting that really are separate, and it was easy to do here with all the darks. No actual black was used because I wanted to capture what I felt was the 'color' of the area. Various colors were charged together to establish the strong darks that read as black. This painting is about nine years old, but I still enjoy looking at it because of all the contrasts and colors.
Any color that looks really dark in your palette wells can be used in combination with others to make a good dark. The trick is to let the water in the paint do the work of mixing, (rather than mixing it all in the palette) and let little gravity do the blending. As soon as the brush starts stirring things up, it can get real ugly. Make the paint very, very dark but use enough water to allow the paint to flow into other wet paint on the paper. Enjoy the spontaneity of it all. It's like magic.
"AMISH WHEELS" Transparent Watercolor on 140# CP Arches 21 x 14"
To make the blacks in the painting lively, I used Daniel Smith brand watercolors of Ultramarine Turquoise, Quinacridone Magenta, Indanthrone Blue, and Quinacridone Brunt Orange .... but no black paint. By making four separate puddles of very dark pigment, I could pop in the dark areas, allowing the colors to charge into each other and blend on their own. The luminous 'black' colors stayed transparent even though they were very strong darks. No glazing was done in the dark areas here, just one shot in with the darks mingling together.
I snapped a lot of film that weekend of the wedding in beautiful Buck County, PA. What a great area to visit - and have a wedding!
"SAY CHEESE" Transparent Watercolor on 140# CP Fabriano Artistico 11x 16"
It's a great process that tells you when you're done... but not in a very loud voice. It was so much fun as I discovered the hidden textures of the painting while lifting off areas with the rubbing alcohol.
In this abstract, the temperature dominance is cool, and it was done about a year before I went overseas, when I then intuitively switched to creating mostly warm temperature paintings. Caran D'ache crayons embellished parts of the painting, too. I spent many hours painting this, then partially removing areas, repainting again and again, and each time I look at it, I remember the joy I felt as I discovered new areas of texture and beauty.
I loved the process, which seems to be more and more important to me lately. The message I want to convey somehow is directing the process choice, and I'm just along for the ride. I love the journey!
"JOURNEY" Fluid Acrylics on Hot Pressed 140# Arches 22 x 30" COLLECTED
Peeling all those tiny bits of tape off is tedious, but the surprises of texture and color combinations make the tape removal seem like a treasure hunt. I haven't done a tape picture for a while. I think it's time to get one started. I like how it resembles batik a little, where the paint creeps under the tape, making some awesome edges and textures. I need to try this on YUPO. What a great assignment.
"STONE WALLED" Transparent Watercolor on Crescent Watercolor Board, about 12 x 21" COLLECTED