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After the pours (see previous post), I then traced my drawing onto the paper, trying to incorporate some areas of the white miskit area into the petals, etc.
Then I began to direct paint areas to separate petals, etc. Per Steve’s method, I used the paint left in my pouring cups, rinsing my brush each time I changed color. Steve says this is a “clean” way to paint – meaning that you (a) do not contaminate your colors and (b) you do not have to use your palette.
Steve has a very unique way of using his brush – it makes me think of watching a Chinese brush painter – he tends to hold it loosely at the tip and kind of wiggles it around and gets a very neat effect with it. His brushes are sable, or sable blend, while mine are synthetic nylon, so was not sure if that would work for me, but that doesn’t mean I didn’t try! (NOTE: nope, I sure don’t have the hang of that!!!)Some areas have several layers on them to get them darker, but the entire painting was painted with hansa yellow, quinacridone gold, quinacridone burnt orange, permanent rose, hooker’s green and pthalo blue. Up close and personal the miskit lines are more obvious, but muted. I may feel the need to darken a bit on my petals on the left side, but I’ll wait on that. Overall, I’m happy with it. I’ll let it sit on the piano for a while, allowing it to be critiqued, and perhaps make some adjustments.
Steve, if you see this, I’ll take any comments and suggestions you care to make!
p.s. Well, failed mission, since it looks like I didn’t necessarily get any looser with my painting, did I!
Memorial Sunflower, 11x14, watercolor on Arches 140 CP