It was getting darker and darker as I painted this and I stopped when the mountains and the lake started blending into one.
It was Miguel. There is something about trying to capture something that is so fleeting that makes it special.
Again, great darks. Can you tell us what your colours were for this?
Thanks Valerie. I don’t vary my colours much so whatever I said last time pretty much stands. Lots of cobalt, ultramarine, alizarin, sap green. A bit of burnt sienna too. The trick is the amount of water. I painted a first wash (the sky) but then when I went back into the wet paper with the dark colours, my paint was very creamy. You can only do this with FRESH tube colours because you would have to dilute pans with too much water.
This is gorgeous.
like the ragged ( wet) edges
The “loose” edges add so much to this painting! I know it would have been so easy just to crop them after scanning, but I think leaving them there has added so much. This painting has a smaller feels than most of your paintings on paper sheets… is that right?
Sometimes I do two little sketches on a one-eighth sheet of watercolour paper. So it is probably around the same size as a Moleskine sketch but on better paper. I would never have been able to achieve these rich, unified darks in the book. It just can’t take that much paint.
I love this one Shari!
Again. You achieved the tranquility and mood with the minimum of strokes.
Hello, your work and blog are so nice to come to. Would love to be at a class of yours. Im teaching myself and enjoy coming here to see the work.
Thanks Linda. I’ll put you on the list for summer workshops.
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